Angel Air Recordshttp://www.angelair.co.uk
Where the artist has a voice...Mon, 14 May 2018 14:56:32 +0000en-UShourly1http://wordpress.org/?v=3.4.2THE UGLY GUYS Senior Momentshttp://www.angelair.co.uk/?p=5100
http://www.angelair.co.uk/?p=5100#commentsMon, 14 May 2018 14:53:13 +0000adminhttp://www.angelair.co.uk/?p=5100Five seniors who bring, with craftsmanship, qualitative ‘feel good’ Americana. That is the essence of ‘Senior Moments’. Nice album! Keys and Chords (April 2018) The Ugly Guys are easily the best exponents of Country Rock or Cosmic American Music as … Continue reading →

Five seniors who bring, with craftsmanship, qualitative ‘feel good’ Americana. That is the essence of ‘Senior Moments’. Nice album!

Keys and Chords (April 2018)

The Ugly Guys are easily the best exponents of Country Rock or Cosmic American Music as Gram Parsons – anyone who worships Bernie Leadon era Eagles, The Fantastic Expedition of Dillard & Clark and the Parsons- Hillman model of The Flying Burrito Brothers should pounce on Senior Moments post haste.

What sets The Ugly Guys apart from the wannabes is their musical proficiency, songwriting smarts and lead vocalist Paul Shuttleworth’s soulful edge. All songs, save a fine live version of Little Feat’s Willin’, are originals that primarily come from Shuttleworth and guitarist Steve Oliver- all boast a lyricism that’s closer to Texas storytellers like Robert Earl Keen and Butch Hancock. There’s also a touch of hard-boiled fiction in the narrative sweep of King Of Dixie, Mama Has Gone, and Handsome Boy. Whereas the evocative Neil Young In The Dark mixes Gene Pitney with Bakersfield Country and E Street Band.

Unlike like many current Alt-Country units, The Ugly Guys can rock out with authority. It’s all there – cry-in-your-beer vocals, keening pedal steel guitar, the hard twang of a Telecaster and the authentic grunt of Pub Rock rhythm section. Once again, The Ugly Guys have made beautiful music.

]]>http://www.angelair.co.uk/?feed=rss2&p=50780JIM McCARTY ‘CHARMED’ MUSIC VIDEO!http://www.angelair.co.uk/?p=5075
http://www.angelair.co.uk/?p=5075#commentsWed, 18 Apr 2018 16:08:34 +0000adminhttp://www.angelair.co.uk/?p=5075Check out Jim’s new music video for the track ‘Charmed’, taken from his new solo album ‘Walking In The Wild Land’ – available now from Angel Air Records. Click here to order your copy of ‘Walking In The Wild Land’!

]]>http://www.angelair.co.uk/?feed=rss2&p=50620THE UGLY GUYS ‘ON DAYS LIKE THESE’ MUSIC VIDEO!http://www.angelair.co.uk/?p=5058
http://www.angelair.co.uk/?p=5058#commentsTue, 10 Apr 2018 16:54:19 +0000adminhttp://www.angelair.co.uk/?p=5058“On Days Like These” is taken from The Ugly Guys’ new album “Senior Moments”, available from Angel Air Records. Click here to order your copy of ‘Senior Moments’ now!

It’s easy to fall under the spell of opener “Top Shelf” whose irresistible, insistent riffs betray the ensemble’s old-school blues-based rock, slider rolling across the fretboard and refrain infecting the listener with a wish to join the party, yet, despite the six-string filigree, the sneer and simple beat which fill the funky “Toxic Love” reveal the group’s fascination with post-punk, and not for nothing they used to frequent the “CBGB” stage. But if the swaggering “Rock Now” and the moderately heavy “Trappin’ Me In” have the “in your face” quality, “Like The Rain” is very much rootsy – its jangle and vocal harmonies wouldn’t feel out of place and time in the ’60s – the funereal ballad “Come Back Lover” should fathom the depth of the band’s emotional crunch.

Unfortunately, all these strands coming together in “Shock Wave” fail to produce a memorable performance, whereas the saving grace of the equally groovy “Love So Large” is, again, rock ‘n’ roll licks that somehow undermine the piece’s anthemic message only to take “Best Friend” beyond the pale; and when there’s a need for reflection, it’s best to make it as frantic as “Get Inside Yourself” is – dipped in Delta, albeit looking contemporary. Ostensibly, the group didn’t stop, another album is long overdue; until the record is delivered, “The Zippers” are here for all to catch up. 4 / 5 Stars

DMME.net (April 2018)

Reissue of the debut album from The Zippers that was originally released on the MCA label in 1990…This is the first time we’ve heard this music. Based on the first track (“Top Shelf”) we can see why these guys might’ve been lumped into the hair/metal category. But some of the other tracks are very surprising, falling squarely into power pop terrain. Callahan wrote the majority of the songs, and it’s interesting how much variety you’ll hear on these ten tracks. Produced by Freddie Salem, these recordings have stood the test of time very well. It would certainly seem appropriate if this reissue yielded a surprise hit single so many years after the fact, because this is one of those cool treasures that just somehow got lost in the shuffle over the years. Cool guitar-driven pop/rock tracks include “Toxic Love,” “Like The Rain” (our favorite), “Love So Large,” and “Get Inside Yourself.”

babysue (March 2018)

The fare on offer ranges from the J. Geils Band’s Centerfold-like stylings of “Top Shelf” through The Cars-style power pop of “Like The Rain” to “Come Back Lover”, a dead ringer for the Stone’s Angie…worth filing alongside Petty and Mellencamp if US power pop is your bag.

Record Collector (March 2018)

I can’t tell you that The Zippers’ self titled effort is an all time classic, but it’s certainly far too good to have been ignored for 28 years. If you like honest, no frills hard rock without the metal pretensions – but which also doesn’t take itself too seriously – then this band and album may well be something of a find.

]]>http://www.angelair.co.uk/?feed=rss2&p=50500NORMAN BAKER Staying Bluehttp://www.angelair.co.uk/?p=5047
http://www.angelair.co.uk/?p=5047#commentsWed, 04 Apr 2018 17:17:49 +0000adminhttp://www.angelair.co.uk/?p=5047Don’t let the name fool you: the record comprises eleven tracks which span an eclectic range of genres, from blues to jazz, folk to country, there’s even a sea shanty in there for good measure (‘Shipping Forecast’, complete with its … Continue reading →

Don’t let the name fool you: the record comprises eleven tracks which span an eclectic range of genres, from blues to jazz, folk to country, there’s even a sea shanty in there for good measure (‘Shipping Forecast’, complete with its very own music video)…Favourite moments are ‘It Cuts No Ice’, a catchy country tune with a fair stab at an American accent to boot, and a lovely acoustic folk number ‘Perhaps’.

Viva Lewes Magazine (April 2018)

It has to be remarked that, whilst Baker’s bitter-sweet vocals are perhaps an acquired taste, there’s a bravery associated with putting one’s heart and soul “out there”, so while he may be short of a Baker’s Dozen, these eleven tracks are hopefully the first of many improved songs to be recorded and released in future. A competent, offbeat, somewhat appealing collection and so worth a second motion.

]]>http://www.angelair.co.uk/?feed=rss2&p=50470NORMAN BAKER ‘SHIPPING FORECAST’ MUSIC VIDEO!http://www.angelair.co.uk/?p=5027
http://www.angelair.co.uk/?p=5027#commentsWed, 14 Mar 2018 12:00:25 +0000adminhttp://www.angelair.co.uk/?p=5027“Shipping Forecast” is taken from Norman Baker’s new album “Staying Blue” available from Angel Air Records. Click here to order your copy of ‘Shipping Forecast’!

]]>http://www.angelair.co.uk/?feed=rss2&p=50270JIM McCARTY Walking In The Wild Landhttp://www.angelair.co.uk/?p=5024
http://www.angelair.co.uk/?p=5024#commentsFri, 09 Mar 2018 16:41:28 +0000adminhttp://www.angelair.co.uk/?p=5024It’s a pastoral album; folkier than not, more acoustic than anything else, and the accompanying booklet, with its vivacious vignettes of wildlife and wonder, matches the mood as perfectly as the music and lyrics. So, if the occasional song (the … Continue reading →

It’s a pastoral album; folkier than not, more acoustic than anything else, and the accompanying booklet, with its vivacious vignettes of wildlife and wonder, matches the mood as perfectly as the music and lyrics. So, if the occasional song (the life-on-the-road but-not-weary “Charmed,” the salutary “In the Clear,” the admonitory “Stop Living Life in the Past”) do break that spell a little, it’s only so they can weave a fresh one.

And in between times, “Dancing Leaves,” “Mountain Song” and the opening title track in particular imbibe Walking In The Wild Land with a genuine sense of good fortune – ours’, that McCarty should have chosen this path when others no doubt seemed a lot simpler.

Goldmine Magazine (April 2018)

…Of course, he’s much more in awe of nature – the mantra of “Mountain Song” and transparent balladry of “Dancing Leaves” testify to that in a mesmerizing manner, whereas the solemn “Come Around The Corner” finds Jim looking for the next different sight, and “So Many Questions” welcomes mystery into an ordinary life, the life McCarty’s up for at this day and age. “We’re held into this state that is so tightly cast”: that’s not for him anymore, as he’s “free of all pretences” after fame and fortune proved not the precious things in the world, which is why “Walking In The Wild Land” has gravity and wonder in it. 4½ / 5 Stars

DMME.net (April 2018)

These tracks sound fresh and inspired, particularly when you consider Mr. McCarty’s long and involved musical career. Interesting that the album was recorded at Toronto’s No. 9 Studios, because the overall sound reminds us of some of the more current Canadian artists in the twenty-first century. Jim’s voice is sounding mighty impressive these days. He’s got a super smooth delivery that is immediately inviting and genuine. Whether you’re familiar with his past bands or not, if you like smooth acoustic guitar driven pop you’re almost certain to appreciate these tracks. Cool melodic cuts include “Walking in the Wild Land,” “Mountain Song,” “Soft in a Hard Place,” and “Come Around the Corner.”

babysue (March 2018)

With a huge catalogue of work behind him, it would be easy for drum legend Jim McCarty to simply rest on his laurels and hark back to days of yore. Instead he’s taken some classic themes and invigorated them with an enthusiasm and love of the here and now. It may be gentle and soothing for most of its duration but when Jim McCarty goes Walking In The Wild Land, it’s a trek you should join him on, every step of the way.

Sea Of Tranquility (March 2018)

The album is bookended by two of its strongest numbers: ‘Walking In The Wild Land’ and ‘So Many Questions’. The former celebrates a “wild land”, free of all pretence while the latter bows out, questioning if wisdom and experience really are related. Equally worthy of a mention is the slightly foreboding ‘Changing Times’, the psychedelic ‘Mountain Song’, the autumnal ‘Dancing Leaves’ and a simple warning to the listener: ‘Stop Living Life In The Past’.

Shindig Magazine (March 2018)

Relaxing ballads, traditional atmosphere, and light rock denoting a blessed idleness allied to an undeniable musical know-how…A happy recording, calm and beautiful, sung without excess and with beautiful, confident melodies… No title really stands out from another, no hit, just beautiful songs. Fortunately, albums like this one are still being released.

Highlands Magazine (Translated – March 2018)

Yardbirds drummer Jim McCarty has arguably never received the recognition that he deserved for his innovative contributions to rock classics such as “Shapes of Things,” “Over Under Sideways Down’” and “Happenings Ten Years Time Ago,” and the veteran musician is still striving manfully to keep the band’s name alive despite being well into his seventies now. Jim’s third solo album serves up an agreeable batch of songs in a gently psychedelic folk rock mould, with his old Renaissance sidekick John Hawken lending a hand on “Right on the Road” and “Connected,” and Rush’s Alex Lifeson chipping in on lead guitar on one of the stand-out tracks, ” Soft in a Hard Place.”

Kevin Bryan, Original Rock.net (February 2018)

Forget Jim McCarty ‘The Yardbirds drummer’ and switch to Jim McCarty the guitarist, composer and singer because it’s this Jim McCarty who has just released his third solo album. He wrote all twelve melodic, quiet, almost fragile songs in which he contemplates about nature, life, time, destiny and the questions that must remain unanswered forever. The philosophical mood of this album is further enhanced by instruments such as the flugelhorn and the violin. A lovely antidote.

Keys and Chords (February 2018)

The former Yardbirds drummer and founding member of the original incarnation of Renaissance releases his 3rd solo CD at a time of life when most people have adopted a more sedentary lifestyle…these compositions are closer in feel to the folk-rock leanings of Renaissance. In places it feels like early Kate Bush…

]]>http://www.angelair.co.uk/?feed=rss2&p=50060NICK HOOPER ‘THE SOUTH WIND’ LIVE VIDEO!http://www.angelair.co.uk/?p=4999
http://www.angelair.co.uk/?p=4999#commentsMon, 05 Mar 2018 13:54:02 +0000adminhttp://www.angelair.co.uk/?p=4999NICK HOOPER performs “The South Wind” taken from the album “6 Strings” released on 8th June 2018.

The self-titled album from 1980 is a superb album, full of heartfelt ballads. ‘Anna’, for example, combines the slightly folksy singer-songwriter image with big, bold, and slightly epic arrangements that give you the ‘small man on a big stage’ feel that would, for example, be so successful for the likes of Andrew Gold. In fact, you could draw comparisons between the two here.

Strange Days (1981) offers more power pop sensibilities with a lush production – and lots of double tracked vocals combined with the more new wave music fashion of the period. A higher energy suite of songs, in fact. This album doesn’t quite have the dramatic focus of the earlier album but there is still much to like here with a suite of light and airy songs presented with lots of energy. In mastering terms, there is a touch of compression residing within the mids but the effect is quite subtle so that the effect is used more to emphasise detail than to intrude upon the whole soundstage.

Hi-Fi World (April 2018)

Twofer featuring solo albums Matthew Fisher originally recorded and released in the 1970s. Although still mainly known as one of the founding members of the iconic band Procol Harum, this release will hopefully open up people’s eyes and ears to Fisher’s entire career. After leaving Procol Harum, Matthew opened a very successful recording studio (Old Barn Recorders) where he worked with many notable artists. This disc presents all the tracks from Fisher’s first two solo albums…Fisher was obviously ahead of his time in terms of songwriting and studio know how. Although his self-titled debut was not hugely successful, it did spawn two singles (“Why’d I Have To Fall In Love With You” and “Can’t You Feel My Love”). Strange Days veered off the path of straightforward pop in favor of a more stripped down sound. Two songs were co-written by The Zombies’ Chris White (who also acted as co-producer on both albums). This reissue will no doubt open the doors for a whole slew of new fans and listeners to experience Matthew’s music. In a world of throwaway pop, these tracks stand out because they’ve stood the test of time…and because they have substance.

babysue (March 2018)

Matthew FISHER begins the eighties with an eponymous album that had great success in Greece thanks to the title track “Why’d I Have To Fall In Love With You”, considered a classic. He is joined by Dave MATTACKS on drums, a member of FAIRPORT CONVENTION and session man having participated in Gary BROOKER’s albums…Tim RENWICK on the guitar, who worked with Al STEWART, THE SUTHERLAND BROTHERS and accompanied PINK FLOYD in 1987 and 1994 as well as during the ephemeral reformation in 2005 for Live8. Mick GRABHAM on rhythm guitar, ex COCHISE and PROCOL HARUM…”Can’t You Feel My Love” is the initial piece of the 1980 album and has a superb nostalgic melody, quite far from PROCOL HARUM…

On STRANGE DAYS he surrounded himself with Tim RENWICK on guitar, Peter VAN HOOKE on drums, Ron ASPREY on saxophone, ex BACK DOOR, and Alan JONES on the bass, ex SHADOWS. It starts with “Something I Should Have Known”, it has a sound close to ULTRAVOX or Gary NUMAN, rather surprising from the ex PROCOL HARUM member. The sound of synthesizers dominate, the song is perfect, having a very emotional romanticism. The album continues in a more pop vein similar to SUPERTRAMP on “Without You”, with a very beautiful vocal performance.

Highlands Magazine (Translated – March 2018)

Anyone expecting the gentle prog of Fisher’s ex-band will initially, most likely, be a little confused by the grown up pop presented on the earlier of these two releases, a slick smooth sound revealed that wouldn’t be out of place in a laid back Eagles setting, or even at the less cheerful end of Paul McCartney’s solo output. It’s classy stuff that reminds just how strong Fisher’s often overlooked vocals are and the overall standard remains high throughout. Opener “Can’t You Feel My Love” may be an overly unassuming introduction, but it is a still a cleverly paced and well constructed piece that happily sits on a reserved groove. Things pick up with “Give It A Try”; a more insistent and forceful slice of organ induced pop that, while of its time, possesses more than enough of a classy 70s sheen to have more depth and believability. It also sets the tone for the rest of the album, the strong mix of accessibility and intricately structured melodies carrying “Only A Game” and “Running From Your Love” deep into the memory…

The biggest shock that arrives when track eleven on this disc kicks in – track one of the Strange Days album – is the short period of time between it and its predecessor. From the smooth, yet crafted 70s pop and rock of the previous album, the leap into austere 80s inspired electro shimmers of “Something I Should Know” suggest the passing of decades, rather than mere months…”Living In A Dream” thriving on simple pop hooks and trilling saxophone, while “Desperate Measures” repeats the process in a rockier and harder hitting setting…Strange Days is more a mixed bag than a failure and there’s more than enough to keep you sticking with it. However there’s no doubt that it’s the first ten tracks on this disc from the Matthew Fisher album that will continue to draw you back for more.

Sea Of Tranquility (February 2018)

This shadowy figure is best remembered these days for his invaluable contribution on Hammond organ to Procol Harum’s ‘A Whiter Shade Of Pale,’ and the fact that it took several decades of serious litigation before he was finally granted a co-writing credit to this classic 1967 hit in 2009. Fisher’s solo career continued on a fairly intermittent basis in the interim, and Angel Air’s latest CD re-issue focuses attention on two of his unjustly overlooked offerings from the early eighties. The results veer much closer to mainstream pop than the classically inspired prog-rock of his Procol Harum days, with “Anna” and “Why’d I Have To Fall In Love” emerging as the best of a strangely affecting bunch.

]]>http://www.angelair.co.uk/?feed=rss2&p=49880GORDON GILTRAP Peace Will Fallhttp://www.angelair.co.uk/?p=4984
http://www.angelair.co.uk/?p=4984#commentsMon, 12 Feb 2018 17:09:44 +0000adminhttp://www.angelair.co.uk/?p=4984On this reworked album he is accompanied by a wonderful singer Carol Lee SAMPSON, she’s not very well known but has a very warm voice…A friend of Gordon, Martin GREEN is the author of the lyrics, also playing guitar. It’s … Continue reading →

On this reworked album he is accompanied by a wonderful singer Carol Lee SAMPSON, she’s not very well known but has a very warm voice…A friend of Gordon, Martin GREEN is the author of the lyrics, also playing guitar. It’s a lot about spirituality. This is all the more interesting as often Gordon GILTRAP’s albums are rather instrumental. Acoustic guitars are commonly in the spotlight even if on “Praise Him” we are treated to the support of discrete keyboards…

Despite the theme, we are far from church music…”The Lord Is My Strength” is more folkloric, more cheerful and accompanied by a wonderful violin and some keyboards. “Echoes Of Heaven” is led by a narrative accompanied by an acoustic guitar…The stunning “Peace Will Fall” is sung beautifully by Carol and concludes the album. A soothing album, recommended.

Highlands Magazine (Translated – March 2018)

It’s the electricity-stricken “Echoes Of Heaven” – formerly known as “Sallie’s Song” – and “Elegy” in the guise of “Walk Beside Me” that become the inspired pinnacle of Giltrap’s method applied to “Peace Will Fall” to render delicate what was simply gentle before. Introverted, if never preaching, this is a triumphal attempt to speak to heaven.

DMME.net (March 2018)

…it is unlikely that a new listener would realise that these tunes had a previous life bereft of words. Sampson’s voice is soothing and suits the mood well. She is possessed of a rich vibrato that she uses to very good effect…Giltrap’s intricate fingerpicking is, as always, impeccable and provides a perfect foil for the mellow mood…for those of a spiritual bent it provides a fascinating new addition to his discography.

RnR Magazine (March 2018)

Never quite a rock, prog, or folk guitarist, Giltrap’s pastoral style sits perfectly in this domain, his personal approach illustrated wonderfully on “First Light”, as it compliments the passionate but restrained vocals from Sampson. In many ways it’s the voice that makes the strongest impression here, Giltrap, a musician most often known an as instrumentalist, allowing the lady behind the mic more than enough room to shine, while never simply blending into the background. It’s a trait revealed time and again, the busy guitar work on “Love Wins” never intruding into the vocal space, always leaving the over all impression as bright and breezy, while side stepping any notion of quaintness.

…if you hold beautiful acoustic guitar playing close to your heart, then there’s little doubt that what Gordon Giltrap specialises in should appeal to you on every level. With wonderful vocals and heartfelt lyrics also feeling right at home in those same surrounds, this may not be an album you’ll reach for often, but it’s sure to delight when you do.

Sea Of Tranquility (February 2018)

Last year’s ‘The Last of England’ was a triumph and reinstated Giltrap’s ascendancy in the world of acoustic guitar. ‘Peace Will Fall’ – originally released in 2012 as ‘Echoes Of Heaven’ – is sufficiently different with Giltrap’s fretwork flourishes enhanced by Carol Lee Sampson’s vocals. Her warm style is not dissimilar to Magenta’s Tina Booth.

This is an interesting departure for Giltrap as mostly his albums are instrumental but punters should be aware that, as is often the case, older songs are re-worked and given a new twist.

So, for example, ‘Praise Him’ is actually ‘Roots’ whilst ‘Under A Blue Sky’ and ‘The Lord’s Seat’ will also be familiar tunes found elsewhere. ‘Sallie’s Song’ reappears as ‘Echoes Of Heaven’ with a narrated lyric, ‘Elegy’ becomes’ Walk Beside Me’.

The overall spiritual nature of this album is reinforced by the presence of co-writer Rev Martin Green (yes, a real clergyman!) and the ambience…It seems that Giltrap is making up for a little lost time (and ill-health) reviving projects that germinated some years ago. With ‘The Last Of England’ he took up with a guy he’d first encountered at a car boot sale in the 1980s whilst this latest collaboration originated in a pub in Kenilworth in 2009.

For fans of Giltrap’s work ‘Peace Will Fall’ is a handsome addition. And, no, we are spared a vocal version of ‘Heartsong’. 4/5 stars

Get Ready to ROCK! (January 2018)

Although not overtly religious himself, Giltrap states that he believes that “all music that touches us is of a spiritual nature”, and there are strong religious overtones on display here. While not as cloying as some of Neal Morse’s messages, this may be enough to deter some. That said, this writer is someone who doesn’t enjoy being preached to in music, but largely found much pleasant listening on offer here. This is largely due to Giltrap’s ever wonderful guitar tone, a lush sound that weaves its magic from folk to prog across the material. Interestingly the religious aspect of the original cover has been dispensed with in favour of the more obvious Giltrap logo, but the spoken Biblical passages on the like of The Lord’s Seat still grate. But not enough to distract from the overall enjoyment.

Team Rock (January 2018)

Over the past 45 years Gordon Giltrap has graced the music scene with his sublime guitar skills…this is the first time it has been with a singer and a songwriter (Carol Lee Sampson and Martin Green). “Peace Will Fall” blends beautifully Gordon’s guitar playing and Carol’s voice. Top tracks include “Christmas Carol”, “Mary”, “First Light”, “The Lord Is My Strength”, “Walk Beside Me”, and the title track “Peace Will Fall”.

]]>http://www.angelair.co.uk/?feed=rss2&p=49840BILLIE JO SPEARS We Just Came Apart At The Dreamshttp://www.angelair.co.uk/?p=4977
http://www.angelair.co.uk/?p=4977#commentsMon, 12 Feb 2018 16:54:38 +0000adminhttp://www.angelair.co.uk/?p=4977Of course, there’s blustery bluegrass in “Baby On My Mind” yet there’s also rockabilly in it, and Spears’ allegiance to country is limited to the choice of covers here, because “Can’t Change My Heart” and “Ain’t No Money” which bookend … Continue reading →

Of course, there’s blustery bluegrass in “Baby On My Mind” yet there’s also rockabilly in it, and Spears’ allegiance to country is limited to the choice of covers here, because “Can’t Change My Heart” and “Ain’t No Money” which bookend the album are transformed into contemporary pop, these catchy pieces disco groove stressing the strength and the gloss of Billie Jo’s vocals. She easily makes “Blowing Away” her own without ever casting a glance at Linda Ronstadt or Bonnie Raitt’s versions of the perennial, while the tender title track has seen a slew of performers following in BJ’s wake, So pedal steel may wail in “Love Dies Hard” where the chanteuse’s inspired delivery is full of hope, but the same instruments in Chuck Berry’s “You Never Can’t Tell” help Spears display her smile and style in the most charming manner.

If BJ’s punchy take on “Settin’ Me Up” validates Mark Knopfler’s prairie approach to writing, “Too Far Gone” finds her tap into Southern sort of strings-drenched sadness, and “Sweet Dreams” is perfect alloy of Spears’ traditional leanings and the period production. Short and to the point, this record is ripe for rediscovery because, 30-odd years since its release, the album is still fresh and fragrant. 4½ / 5 Stars

DMME.net (April 2018)

This release will be of genuine interest to Billie Jo Spears fans because…this marks the first time these tracks have ever been released on CD. Recorded in 1982 in London and Nashville, We Just Came Apart at the Dreams was originally released on vinyl in 1983. By this time, Spears was experiencing a good deal of success in England. The tracks on this album present a more middle-of-the-road sound and style. It features covers of songs written by a number of well-known artists including Rodney Crowell, Don Gibson, Chuck Berry, Mark Knopfler, and Jim Weatherly & Bucky Jones. Sadly, after a long and lengthy career, Billie passed away in 2011. This reissue will help to keep Spears’ songs and spirit alive for decades to come. Spirited upbeat cuts include “Can’t Change My Heart,” “Baby On My Mind,” “We Just Came Apart at the Dreams,” and “Ain’t No Money.”

babysue (March 2018)

…up tempo selections include a charming countrified revival of ‘You Never Can Tell’ – Chuck Berry at his most wordy, which like that of The Cate Brothers’ soul-inflected ‘Can’t Change My Heart’, nestles comfortably enough among unhurried heartbreak ballads like ‘Love Dies Hard’, the title song and, perhaps Elvis Costello’s contemporaneous overhaul as a useful demo, Billy Sherrill’s ‘Too Far Gone’.

RnR Magazine (March 2018)

Recorded in London (but completed in Nashville) in 1982, ‘We Just Came Apart At The Dreams’ saw but a fleeting vinyl lifetime some thirty-five years ago. This, then, is its first appearance since then, and it’s difficult to see why it has remained obscure for so long. Particularly as Billie Joe was still scoring hits as recently as two years before, and would do so again a couple of years later.

Ah, we’ll get to that in a moment.

It’s a terrific album. The Spears voice is as alluring, powerful and expressive as it ever was, and her choice of material is faultless, too. It’s great hearing BJS tear through Chuck Berry’s “You Never Can Tell” and a brilliantly revved up version of Don Gibson’s “Sweet Dreams” – in and out in under two minutes. Rodney Crowell and Mark Knopfler show up in the writing credits too, with the latter’s “Settin’ Me Up” an opportunity for Spears and band to really kick some cans around.

But circumstance was less conducive than it might have been. Spears both recorded the album in London and in part relied on local talent for accompaniment. Nothing wrong with that, of course, and in many ways the disconnect from the US country scene is one reason why We Just Came Apart…sounds so fresh today.

Unfortunately, it also ensured that America wasn’t interested, while a more-minor-than-most UK record label (Premier) just doesn’t appear to have been equipped to give the album the attention it deserved. It vanished, Spears returned to her American career, and three and a half decades later, even fans will probably be hearing this for the first time. Tell them it was worth the wait.

]]>http://www.angelair.co.uk/?feed=rss2&p=49690DATA 2-Timehttp://www.angelair.co.uk/?p=4927
http://www.angelair.co.uk/?p=4927#commentsWed, 06 Dec 2017 22:32:06 +0000adminhttp://www.angelair.co.uk/?p=4927…now, once again, the music has been made available for all to hear…thanks to the folks at Great Britain’s Angel Air label. With the continued interest in early electronic pop music, Data just might be a band that’s ripe for … Continue reading →

…now, once again, the music has been made available for all to hear…thanks to the folks at Great Britain’s Angel Air label. With the continued interest in early electronic pop music, Data just might be a band that’s ripe for a resurgence.

babysue (January 2018)

If the band’s debut was a trade-off of catchiness against electronica, so 2-Time again tried to marry the two not always ready bedfellows. Even with both Kajanus and Frankie combining on vocals, the reduced role of Phil proves a key difference as Data’s sound evolved, the brightness of before cashed in for a more stark, serious attack that verges into austere. In many ways it makes this second outing feel much more grown up, especially when combined with less dazzling and bright synth sounds.

…repetitive patterns rarely produce a groove but they perfectly convey the period’s stifling atmosphere, its madness captured in the well-concealed rock ‘n’ roll of “Cuckooland” whose deadpan vocal theatrics and electronica-stricken beats point to the ultimate blackness…In this context, “I Want To Know” sounds more like demand rather than inquiry, and the belligerent, if flat, “Fallout” would be the only possible answer to such a statement – lightened by a lucid, lysergic even, middle section that leads into “Fever Of Love” where a swirl is truly infectious. It can serve as an entrance to the DATA world – unwelcoming and arresting at the same time.

DMME.net (February 2018)

Many of these tracks sound like they could easily be twenty-first century hits. The persistent beats and instantly catchy vocal melodies should appeal to a wide range of listeners. The music has been compared to Abba and Giorgio Moroder, both of whom should give you a good idea of what this music sounds like…Strange how current and relevant these songs sound in 2018 (!).

babysue (January 2018)

The sound of DATA exudes joy and liveliness (sometimes even hyperkinetic) more than the then current sterile new wave. Daring, headstrong and perhaps even too accessible because of a hidden urge to score that one big hit. Although, the theatrical ‘Life On Video’ and the nice ‘Armageddon’ enforces respect. The film industry also liked it and used the title track for the movie ‘Towers Of Babel’.

Keys and Chords (Translated – November 2017)

…with “Armageddon” a prime example of how to deal with tough issues in a cleverly flippant style and the opera based title track illustrating just how daring Data were attempting to be, there’s still a lot to admire. The latter blending styles in a way that maybe isn’t so readily illustrated elsewhere…For fans of Kajanus’s wide and hugely varied catalogue, this reissue will be most welcome, while for followers of burgeoning electronica, there will also be rewards aplenty.

]]>http://www.angelair.co.uk/?feed=rss2&p=49250JAMES WARREN Innocent Bystanderhttp://www.angelair.co.uk/?p=4898
http://www.angelair.co.uk/?p=4898#commentsTue, 31 Oct 2017 12:25:52 +0000adminhttp://www.angelair.co.uk/?p=4898The lyrics are all out of the ’60s – “That’s What You Do To Me “and “You’ve Got The Love That Matters” are typical titles. Warren plays all the backing tracks, leaving the decoration to his guests and he proves … Continue reading →

The lyrics are all out of the ’60s – “That’s What You Do To Me “and “You’ve Got The Love That Matters” are typical titles. Warren plays all the backing tracks, leaving the decoration to his guests and he proves to be a very efficient drummer along with everything else he does…an enjoyable album of pop nostalgia.

RnR Magazine (March 2018)

The orchestrations are of top quality…James does not forget his roots with ‘That’s What You Do To Me’, very influenced by SPENCER DAVIS GROUP. We are back in the sixties, the organ hums with happiness as well as the brass. He reaches the summits of pop with the wonderful ‘You’ve Got The Love That Matters’…This album was co-produced by David Lord having worked with Peter Gabriel, XTC, ICEHOUSE, TEARS FOR FEARS – which explains the excellence of the record.

Highlands Magazine (Translated – January 2018)

Subtle twists and turns aplenty, Warren plays mind, and heart, games with the listener. He renders “Set Me Free” transparent and romantic…until it’s turned inside out with the “one for the money, two for the show” line to trade a maudlin violin for a well-orchestrated carousel of elegant rock moves and the caress of slide guitar. Elsewhere, “That’s How I’m Loving You” is cut from the same delicately fascinating fiber as “All The Love In The World” demonstrated, and this is, perhaps, the only thing which could be expected from James. He may claim he’s an innocent bystander, but he’s complicit in the crime of love. 4/5 stars

DMME.net (January 2018)

One track from “Jim’s Easy Listening Album”, the Beach-Boys tinged “You’ve Got The Love That Matters”, reappears here and stands out amongst the Motown pastiches. Other highlights are the Beatlesque “Have You Seen The Colours”, one of two songs co-written with Andy Davis in more harmonious times, and simply performed closer “I Just Want You To Tell Me”. Hopefully Simon Cowell has been mailed a copy, since the songs themselves are individually worthy and could well chart in the right hands.

Record Collector (December 2017)

This album offers nine slick hummable songs, some of which remind us in many ways of music by The Pearlfishers. Our favourite cuts include “The First Time,” “You’ve Got the Love That Matters,” and “I Just Want You to Tell Me.” The cover bears a curious resemblance to Sparks’ Kimono My House album (!).

babysue (November 2017)

Warren’s enduring passion for the infectious delights of pure melodic pop informed several excellent albums for The Korgis during the late seventies and early eighties ,along with a major singles success in the shape of the softly beguiling “Everybody’s Got To Learn Sometimes.” The former Stackridge stalwart’s subsequent solo career has been a much more low-key affair but Warren’s tuneful musical exploits always repay closer investigation nonetheless , and “Innocent Bystander” is thankfully no exception to the rule. “That’s What You Do To Me” and “Have You Seen The Colours?” are the best of a catchy bunch.

Kevin Bryan, Regional Newspapers (October 2017)

As well as founding The Korgis he also co-founded Stackridge…now 65 years old, he has written and produced this album of unashamedly catchy tunes and sing-a-long choruses, decidedly retro in flavour…

]]>http://www.angelair.co.uk/?feed=rss2&p=48980CATHÉDRALE J2=B2http://www.angelair.co.uk/?p=4859
http://www.angelair.co.uk/?p=4859#commentsMon, 02 Oct 2017 14:25:53 +0000adminhttp://www.angelair.co.uk/?p=4859CATHÉDRALE should have taken flight and had some success, it’s simple but it all goes pretty well and the gimmick of Japanese music with keyboards on the opening title is to good effect. It’s very well sung by Jon, a … Continue reading →

CATHÉDRALE should have taken flight and had some success, it’s simple but it all goes pretty well and the gimmick of Japanese music with keyboards on the opening title is to good effect. It’s very well sung by Jon, a real success. Jon’s huge bass opens ‘The Price’ with a sound worthy of Chris Squire for a progressive atmosphere, very PALLAS…A collection of beautiful tracks, always with supportive guitar, ubiquitous keyboards and never pompous. CATHÉDRALE leave no imperishable trace for this activity, which makes it a curiosity today, a missing link in the story of progressive music.

Highlands Magazine (Translated – November 2017)

Yet another obscure album retrieved from the vaults from the folks at Great Britain’s Angel Air label. And this time it’s from a band that we never even knew existed. Cathedrale was formed in the late 1980s by Jon Camp after he decided to part ways with the band Renaissance. Also in the band were John Young (who had previously played in Asia, Greenslade, and Scorpions), Brett Wilde, and Tony Bodene. In the beginning the band came very close to being signed by Atlantic Records in the United States, but things didn’t work out. They recorded their debut album in the United Kingdom, but it was never released…until now. If you like the sound of 1980′s progressive techno pop, you will find a lot to appreciate here. This is yet another example of bands who should’ve been successful but–for various reasons–they were not. Twelve carefully constructed tracks including “One By One,” “Paris Is Calling,” “It’s Really Up To You,” and “Crying.”

babysue (November 2017)

With their extravagantly blow-dried, highlighted bouffant hairdos, it isn’t very hard to guess that Cathédrale were a band from the 1980s. The music – airy, lightweight, super-polite pop rock with musician-friendly airs and graces – serves only to confirm this theory. What’s rather more shocking to note is the presence of two prog staples in the group’s midst – step forwards ex-Renaissance bass player Jon Camp and current Lifesigns keyboard maestro John Young, both looking suitably moody on the front cover. Previously unreleased until now, these 12 songs date back to varying stages of the band’s short existence, some conceived as a four-piece and fronted by Camp, others recorded after the realisation that a full-time lead singer and a lot more keyboards were going to be necessary. Save for the audio quality which is what you’d expect from a cassette discovered under somebody’s bed, the results are largely inoffensive. One By One, Calling Out For You and the jumbled white boy funk of Element Of Surprise all tip their hats at Mr Mister, Cutting Crew and Silent Running…

Dave Ling, Team Rock (October 2017)

…There’s a slightly alien, J-pop vibe to “One By One” whose plastic veneer is punctured with a four-string scratch and shattered with splashes from ivories whose collective surge brings on a riveting chorus, whereas “Kasaar” wraps its memorable refrain in honeyed heaviness, and “It’s Really Up To You” is a showcase for Mark Goddard-Parker’s supple voice. There’s a lot of contrast here, the anthemic “Crying” coming across as hackneyed but moving piece, and the reggae undercurrent of “Any Time At All” deliberately ruining the number’s drama without voiding its vigor; still, for all the record’s sonic flaws, there’s also an emotional balance – as reflected in the album’s titular equation. Maybe, it’s time for the ensemble to scale their talents one more time? 4/5 Stars

DMME.net (October 2017)

The combination of seventies band Renaissance with earlier Asia-work, provides excellent prog rock that rises as a cathedral.

Keys and Chords (September 2017)

Complex in structure but hugely accessible in execution, the results could easily have seen Cathedrale share stages with the likes of Hipsway or Hue & Cry, although there’s an undeniably progressive edge also in play. “Element Of Surprise” walks that tightrope confidently, while the more keyboard heavy “A Trick Of The Light” adds a more obvious (if hardly dominant) 70s edge, a small window into the world of Yes opened onto what was undoubtedly an 80s vista.

]]>http://www.angelair.co.uk/?feed=rss2&p=48590OVEREND WATTS He’s Real Gonehttp://www.angelair.co.uk/?p=4827
http://www.angelair.co.uk/?p=4827#commentsWed, 09 Aug 2017 00:10:54 +0000adminhttp://www.angelair.co.uk/?p=4827Before his death, after a long illness, he finally completed his solo album that he had been promising to deliver to his fans for the past decade…as a bonus track for fans Overend provided his own demo of his song … Continue reading →

Before his death, after a long illness, he finally completed his solo album that he had been promising to deliver to his fans for the past decade…as a bonus track for fans Overend provided his own demo of his song “Born Late ’58″, which he sang on the 7th and final album from Mott The Hoople back in 1974.

Bev Bevan, LIVE24SEVEN (December 2017)

Reading comments from those who knew Overend Watts that He’s Real Gone absolutely captures the spirit of the man who created it means that this solo album succeeds in a way that many, if not most, certainly don’t. For those not quite so acquainted with him the journey to discovery is a tougher one, an initially impenetrable set of songs only slowly revealing their charms. Still for an artist famed for his humour and uncompromising nature, should we have expected any else?

Sea Of Tranquility (November 2017)

Constructing a crazy raga in the mostly instrumental “Prawn Fire On Uncle Sheep Funnel” to let his four strings on the prowl, and conjuring “Mad Shadows” in “The Legend Of Redmire Pool” whose jangle and dewdrops effects are so catchy – and that’s not the only angling-referencing song on offer to hint at what Watts’ “private life” presumably included – he wills a weird world into existence. And though the optimism of “Rise Up” feels rather dry, “The Search” offers a spiritual uplift possessed of orchestral potential…the record’s quirk, the songs’ common denominator, has an irresistible charm to it. That’s quite an exit, that’s the grace to be remembered for.

DMME.net (November 2017)

…you might object on principle to the mathematical exactitudes of drum programming employed throughout ‘He’s Real Gone’, but this frequently works surprisingly well on, say, the rataplan-driven sections of semi-instrumental ‘Prawn Fire On Uncle Sheep Funnel’, which appears just short of midway through a fourteen track exercise that is vaguely a game of two halves. Chiefly straightforward songs (and an exhumed demo of a latter-day Mott The Hoople single) follow the more adventurous items, including an arrangement of The Bevis Frond’s ‘He’d Be A Diamond’, one of two non-originals, on a worthy artistic epitaph that many fans of its creator’s old group might never have imagined him delivering.

R2 Magazine (November 2017)

On this disc, the title is sung and played by the man himself. We find a little bit of everything in this album, proof of the eclecticism of this musician, a jazz number called ‘The Dinosaur Market’, a sound close to Syd Barrett with ‘Caribbean Hate Song’, ‘Endless Night’ is also very psychedelic. His passion for fishing is not forgotten on ‘The Legend Of Redmire Pool’. Overend Watts was an endearing character.

Highlands Magazine (Translated – November 2017)

There are bands that made a difference but were never canonized. There are band members that made a difference but do not live in most people’s memories because they were too busy as artists. Singer, bass-player, guitarist and songwriter Peter Overend Watts (1948-2017)belongs to this category, being a founder-member of Mott The Hoople and Mott, before teaming up with John Fiddler of Medicine Head to form British Lions.

This is the solo album he worked on for years and succeeded in completing shortly before his death in January 2017 at the age of 69 – with a rare sense of humour changing the original title ‘She’s Real Gone’ (the opening track) into ‘He’s Real Gone’. Here, Overend Watts the rocker (he also produced bands like Hanoi Rocks) has stepped down for Overend Watts the song-writer and we like it like that. With its jangling guitar parts, ‘He’d Be A Diamond’ remind me of sixties folk-rock, whereas the slide of ‘Prawn Fire’ sets the tone for what turns it out to be a weird succession of sounds.

‘The Magic Garden’ is a dreamy song beginning and ending with the banjo. The album covers a wide range of styles, with Overend Watts’ humour and Englishness all over the place. All in all, it’s an album for patient and open-minded listeners who appreciate a good song when they hear one. Overend Watts sings all the parts and plays all the instruments, except for extra vocals and guitars by his friend Phil Hendriks.

Keys and Chords (October 2017)

The album was originally intended to be called She’s Real Gone (the title of the lead track). But when Watts realized the album would be released after his passing, he opted to go with He’s Real Gone. So obviously this talented man’s sense of humor remained intact. Real nice that this release sees the light of day now, because it puts Overend’s contributions to the world of music in perspective. Yes, he is mainly known for his work with Mott The Hoople. But he was obviously much more than that. He was a songwriter in his own right. And he was also a friend and mentor to lots of people. Interestingly, this does not sound like a batch of tunes recorded by someone so late in their career. These tracks are upbeat, melodic, catchy, and bright. Hearing these songs with so much hit potential, we can’t help but think what could have happened if Mr. Watts had recorded more material while he was here on earth. Hats off to the fine folks at Angel Air for releasing this album. Thirteen cool tracks plus one bonus track (the original demo of “Born Late 58″). Rest in peace, Mr. Watts.

babysue (September 2017)

Recorded over a long period and indeed his only solo release Overend sticks to no genre but just gives us a lyrically light hearted, witty and humorous look inside his head, just look at a sample of titles ‘The Dinosaur Market’, ‘Prawn Fire On Uncle Sheep Funnel’, ‘Caribbean Hate Song’ and my personal favourite, so far, ‘Belle Of The Boot’ which just brings a smile to my face, listen to it we’ve all been there! But this is no comedic album ‘Belle’ has a hook many songwriters would envy. Indeed all thirteen tracks are well crafted and Overend played (or programmed) all the instruments. Its in retrospect a crying shame it took him 40 years to make a solo album because based on this he had so much to offer outside of his fundamental contribution to MTH.

Like labelmates Stackridge I reviewed recently, Overend is a one-off defying putting in a ‘box’ quirky, delightful and yes heart-warming. Echos of glam, punk, jilted John tease thru the 60 odd minutes running time but in the end its a unique album from a unique artist who may have physically left us but whose musical legacy will live on to delight his many fans. If I have a down day I’ll be slapping this in the disc drawer without fail.

Ninebattles (September 2017)

Mott The Hoople bassist Overend Watts died in January, but he mocks mortality with a high-spirited posthumous album full of upbeat tunes and silly jokes. He even insisted that its name be changed from She’s Real Gone to He’s Real Gone. Determined to have a good time, he writes and plays almost everything himself, singing in a voice that welds Ray Davies, Syd Barrett and John Otway and penning rhymes that lead you to believe he’s about to say a filthy word, which he then swerves like a guitar-slinging Benny Hill.

‘Overend’s just a rock ‘n’ roll star’, Ian Hunter sang in Ballad Of Mott The Hoople, and there’s no arguing with that lore as he rips through cheeky riffs and rhythms. By the time he’s chanting ‘Prawn fire!’ repeatedly, you’re won over by the surrealism and resilient humour. His original demo of Mott’s Born Late ’58 is a bittersweet bonus.

Team Rock (September 2017)

An up-front streak of humour colours the material throughout, from the opener (and near-title track) ‘She’s Real Gone’, ‘Dinosaur Market’ with its nursery rhyme playfulness and the psychedelic surrealism of ‘Prawn Fire On Uncle Sheep Funnel’. ‘Belle Of The Boot’, meanwhile, is a full-strength demonstration of glam-smeared rock ‘n’ roll firepower…Elsewhere Watts reveals a pronounced reflective side, as on ‘The Search’ or the penultimate cut ‘Miss Kingston’. A touching parting statement from one of British rock ‘n’ roll’s one-offs.

Vive Le Rock (September 2017)

The different, sometimes conflicting, aspects of this lovably eccentric man’s personality jostle throughout intricately-constructed classic pop, gentle prog-tainted rock and quirky widescreen ballads; all crafted like stained glass windows into his idiosyncratic soul, tempered with surreal humour and buoyed by the malapropism he turned into an art form…The set’s inevitable poignancy is enhanced by its photo booklet and bonus track of Watt’s original 1974 demo for Mott’s Born Late ’58, recorded with school friend drummer Buffin; sadly also real gone in 2016.

Record Collector Magazine (September 2017)

There’s a definite sense of humour about the whole album that is offset by Overend’s quite impressive vocals and arrangements. Some of the tracks like “Prawn Fire On Uncle Sheep Funnel” border on Python-esque humour, yet it’s played with sheer sonic accuracy. There’s plenty of Mott and Bowie inspired pop ditties and rave ups. Check out the Bowie-esque “There’s Berkeley Power Station”. Somewhere in pop heaven, Overend and Buffin are now jamming with Bowie and Ronno so keep the faith and crank up the volume. A stunning, ear-opening, posthumous pop-rock achievement, He’s Real Gone will long be viewed as a better late than never pop masterpiece from Mott The Hoople legend, Overend Watts.

MWE3 (September 2017)

Overend Watts’ solo album has been a long time coming. Something like eighteen years by my reckoning – he first talked about recording an album in issue 2 of Two Miles From Heaven magazine in November 1999…

Many of the songs are inspired by Overend’s varied life experiences, either from running his own shop (The Dinosaw Market, Belle Of The Boot) or pursuing his hobby of carp fishing (The Legend Of Redmire Pool). Overend plays all the instruments himself – normally my heart sinks when I read this, but here Overend acquits himself well. Even the drums are inventive rather than perfunctory, as are the keyboards. A true solo album but which sounds like a band – others should take note…

…Overend has said that when he started writing in earnest (for MOTT’s Drive On) he didn’t really know about hooks and choruses. I’m pleased to say he has got everything right here, with Rise Up being another strong track with a great hook and chorus. Rise up – before they shoot you down!

There’s a lot to like here. It took me two or three listens to “get it”, but get it I have. Recommended.

Hunter-mott .com (August 2017)

Recorded towards the end of his days, it would be lovely to report that He’s Real Gone captures everything that made Watts so unique, from the towering platforms and the silver hair, to the humor, artistry and vision that characterized his work way-back-when. Lovely, and true.

From start to finish, He’s Real Gone is a delight; lyrically light-hearted, buoyant as a balloon, and so determined not to take anything seriously that you almost overlook how magnificently constructed and exquisitely played the thirteen new tracks are.

The titles give a lot away – “The Legend of Redmire Pool”, “Prawn Fire on Uncle Sheep Funnel,” “There’s Berkeley Power Station”…there are few ruminations on life, the universe and everything here, and who’d have wanted them if they were? Watts’s onstage persona was almost cartoonish (how could it have been much else with that tailor?), and alone in the studio with a broad array of instruments, that’s the side that he indulges.

Yet it’s not an album you put on just for laughs. The songs are genuinely powerful (“Caribbean Hate Song” might be the best, but I’ve changed my time six times already), and the playing and production are spot on. Yes, there are certainly echoes of past friends and peers on display, including a touch of Roy Harper around the vocals, but it’s Watts’s album all the way through, still jammed with all the pleasures that were so much a part of his writing “back in the day,” and occasionally allowing them to shine through even louder than before.

“He’d Be a Diamond” has a hook and harmonies that the mid-sixties would have given their last pair of Beatle boots for; “Magic Garden” feels like a lost John Otway classic; “Belle of the Boot” is unadulterated punk rock. And the only regret, as the album comes to an end, is that Watts waited so long to make it. If this is the music he spent forty years bottling up, we lost out on some of the most extraordinarily enjoyable albums in history.

Goldmine Magazine (August 2017)

Bass player Pete “Overend” Watts is best remembered these days for his sterling exploits with glam rockers Mott the Hoople during the early seventies, and the Birmingham born musician did his best to keep the band’s name alive after creative mainstays Ian Hunter and Mick Ralphs left the fold in 1974. His efforts were sadly doomed to failure however, and Watts took a back seat from performing to concentrate on record production, only completing “He’s Real Gone,” his first solo album shortly before his untimely death from throat cancer earlier this year. His musical epitaph is a typically quirky and unpredictable affair which should be required listening for MTH devotees everywhere.

Kevin Bryan, regional newspapers (August 2017)

“He’s Real Gone” is the long-awaited CD by the much loved Overend Watts, the bassist and founding member of the mighty Mott The Hoople who sadly passed away earlier this year. The CD contains eleven brand new compositions by Overend together with two cover versions plus the original demo of “Born Late ’58″ which dates back to “The Hoople” LP.

Imbued with Overend’s eccentric, warm hearted personality, “He’s Real Gone” is by turn quirky, amusing and, at times, it must be said, somewhat slightly odd. But beneath all that is a fascinating collection of songs that give you an insight into the World of Watts with wry, humorous tales of Herefordshire life, Car Boot Sales, ghosts, fishing, cups of tea in Acton and attractive young ladies in Tesco.

Musically, the album covers a wide range of styles from psychedelia (“Prawn Fire on Uncle Sheep Funnel”) to pop, rock and folk. There’s even a bit of faux jazz (Nice!) thrown in on “The Dinosaw Market.” There’s a distinct Sixties vibe to some of the songs especially on the harmonies and the jangling Byrds-like guitars. “Caribbean Hate Song” recalls Syd Barrett era Pink Floyd while “Belle of the Boot” somehow manages to sound like the love child of The Who and The Kinks.

The two cover versions included here also reflect Overend’s wide ranging love of music and his championing of less well-known acts. “Endless Night” was originally recorded by one of Overend’s favourites, the US psychedelic rock outfit the West Coast Pop Art Experimental Band, while “He’d Be A Diamond” written by Nick Saloman from The Bevis Frond, was covered by Teenage Fanclub, another band on who Watts was particularly keen.

This is US-influenced blues-rock all the way, the opening cover of the Allman Borther’s ‘Don’t Keep Me Wondering’ being followed by ‘Long Gone’, a self-penned sound-alike of Little Feat’s ‘Spanish Moon’…the musicianship is tighter than tight, abetted by a class rhythm section in Colin Gibson and Terry Popple…This would have been a short show had the six live tracks been its sum, so four very much heavier efforts from Harrison’s later outfit Niagra round out the package.

Record Collector (January 2018)

This live recording from 1976 in Nottingham is a blessing with a group at the peak of their art, six titles of very good sound quality allowing us to relive the funky rock blues inspired by ALLMAN BROTHERS or LITTLE FEAT…Beginning the concert with ‘Don’t Keep Me Wondering’ and we get to know this rather unique sound, mixing rock with funk and it’s great. The husky voice of Bobby Harrison is up-front, there’s no question these are top level musicians. The group is led by the guitar of Micky Moody that’s like hot embers when combined with Tim Hinkley’s crazy electric piano. The rhythm section is impeccable, not to mention the percussion by Bobby Harrison.

Highlands Magazine (Translated – November 2017)

Snafu were nearing the end of their brief existence when this muscular performance was captured for posterity at Trent Polytechnic in January 1976. The outfit formed by one-time Procol Harum drummer Bobby Harrison had recorded three critically acclaimed albums by this stage but commercial success had largely eluded them and departure of slide guitarist Micky Moody for pastures new with Whitesnake effectively signalled the end of the road for Snafu’s robust fusion of blues, funk and country rock. ‘Highway’, and the soulful ‘Every Little Bit Hurts’ are the best of the bunch.

Kevin Bryan, Regional Newspapers (November 2017)

…Freestyle blues and call-and-response are added to the heady mix for “Big Legged Woman” which the group never took to the studio to expand on the piece’s fusion in a more disciplined way, leaving this version the testament to their ability to throw caution to the wind and cruise around the tune, but the cover of “Every Little Bit Hurts” is as soulful as it gets, without embellishments except for a filigree guitar figure on a solo…

…Rounding off the listening experience, in inferior sound quality, are four cuts from 1977 by Bobby’s next band, the short-lived NIAGRA: a much more polished proposition, filled with vocal harmonies on “Crossfire” and smearing AOR all over the punchy “Cold Eyes” whose surface is punctured with a sharp riff. Far from SNAFU’s rawness, these numbers only stress how special that quintet was – great while it lasted and coming alive now. 4/5 Stars.

DMME.net (October 2017)

Snafu’s blues rock inspired the legendary bands Little Feat and The Allman Brothers. The American blues with slide guitar and a funky rhythm also reminds us of Grand Funk Railroad. At the intro of this live album you can already hear the honest, pure sound of the group. Raw unpolished singing by Bobby Harrison and funky guitar by Micky Moody with Tim Hinkley at the Hammond organ. Bobby’s energy shatters his vocal cords, and Micky pulls excellent dirty sounds from his guitar. A few weeks later he switches from Snafu to David Coverdale’s Whitesnake. This also meant the end of Snafu. The recordings of Live Nottingham 1976 are beautifully honest, as pure as it was at the time – no technical gadgets or tricks, no, the music came directly from the heart and soul!

Keys and Chords (Translated – August 2017)

If you’re a Bobby Harrison, Micky Moody or SNAFU completist, then Live In Nottingham 1976 will prove a vital addition to your collection. For anyone else there’s undoubtedly a great hard blues rock act here to be discovered…

Sea Of Tranquility (August 2017)

Snafu were at the peak of their creative and live capabilities when they performed at the Refectory at Trent Polytechnic in 1976 with 3 albums already released and their stock high amongst both fans and fellow musicians…Tracks are ‘Don’t Keep Me Wondering’, ‘Long Gone’, ‘Big Legged Woman’, ‘Every Little Bit Hurts’, ‘Unsettled Dust’, ‘Highway’, ‘Crossfire’, ‘Victim Of Love’, ‘Cold Eyes’ and ‘Don’t Be A Fool’.

Bev Bevan, Sunday Mercury (July 2017)

It is a short set, only six songs, yet you get a good feel and sound of the band as they play blues rock set of covers and their own songs. Highlights include the slow blues burner ‘Every Little Bit Counts’ which highlights Bobby Harrison’s emotive singing and the rocking ‘Highway’, where Micky Moody plays up a storm.

…This performance is exclusively confined to classic after classic spanning the whole Stackridge catalogue, all superbly delivered. Highlights abound, but the superlative versions of “God Speed The Plough”, “The Last Plimsoll” and Gordon Haskell’s wonderfully titled “No One’s More Important Than The Earthworm” take some beating. With former member Mutter Slater joining for a couple of tracks, there’s a special air to the evening and the finale of “Do The Stanley” will leave many a moist eye among the faithful. We may not see their like again. Get this if you’ve missed out on what the fuss is about!

Classic Rock Society (December 2017)

With a sound ranging from 60′s pop to blues, straight up rock to keyboard heavy prog and that of a string led, brass infused ensemble, there’s no doubt that Stackridge fit the billing ‘progressive’ much more succinctly than many out and out prog bands ever did. This set riding the gamut from the strings of “The Last Plimsoll” to the jaunt of “Fundamentally Yours”, which sounds like a less forceful Queen jamming with Yes. Along the way everything from “Something About The Beatles” to “Lummy Days”, via “Syracuse The Elephant” and “Dora The Female Explorer” confirm the stylistic about faces that occur throughout.

The crowd are involved and invigorated, if limited in size, while the sound across the show is excellent, although the fade outs in between songs do suck a little of the momentum out of proceedings; very little casual stage chatter making the cut. However with Davis, Warren and Lindley all in fine voice, whether leading from the front or combining to heighten the effect, and the overall performances as tight as you’d expect from a group of veterans who’ve run through these songs countless times, this really is a fitting tribute to a much loved band.

Coming with a booklet mixing a historical perspective with the thoughts and emotions of some of the band’s fans and which also pays respect to some of the more renowned former members, The Final Bow, Bristol 2015 is a wonderful two disc, twenty-two song strong celebration of a band who stuck to their guns and delighted many. It’s never too late to discover good music, and it has to be said that Stackridge’s final goodbye makes for just as strong an introduction to a vastly underrated group, as it is a fitting farewell.

Sea Of Tranquility (September 2017)

Although those who love the music really, really love it, Stackridge has always been criminally overlooked in the big scheme of things. They’ve written and recorded some of the most credible/incredible pop music and yet, for whatever reasons, they’ve never really received the attention they deserve. The 2015 band was comprised of Andy Davis, James Warren, Clare Lindley, Glenn Tommey, and Eddie John. And what a band they were. On this hefty double disc set, the band plays twenty-two selections for audiences who were obviously very familiar with the material. Highlights include “Over the Horizon,” “Fundamentally Yours,” “Something About the Beatles,” “Boots and Shoes,” and “Do The Stanley Aviator Brass (Plus Audience).” Sadly it’s farewell to Stackridge after so many years and so much wonderful music. But thankfully the tracks they recorded will always be around for future generations to admire and appreciate. Recommended. Top pick.

babysue (September 2017)

Stackridge in 2015 retained the spark of the early 70s when music was still expanding and they could add solid rock, whimsy and assorted oddness to witty lyrics and fine playing. Mutter Slater guests on two tracks and if you want proof of fine playing just listen to the flute composition, ‘Purple Spaceships Over Yatton’, With Mutter soloing.

RnR Magazine (September 2017)

None of their albums unturned, the ensemble concentrate on deep tracks from both distant and recent past, and throw into the mix a couple of pieces that didn’t make it to a studio LP. The quirkiest numbers aren’t performed here, though, stressing the set list’s sentimentality: from the translucent welcome of “Over The Horizon” to “Do The Stanley” which is passed to a brass section and audience singalong, there’s dewy-eyed nostalgia fogging up the proceedings, what with Mutter Slater’s flute returning to the fold for “Slark” and “Purple Spaceships Over Yatton” to help Andy Davis and James Warren close the decades-wide circle…

…Observing the group’s route from the vantage point of today, it’s almost impossible to avoid the wondering at how many songs in their repertoire bid farewell to a moment the artists’ inhabited at any given time, because the latter-day title track is only a reflection of the “Teatime” delicacy, and there’s a firm logic in placing Davis’ extracurricular “All I Do Is Dream Of You” alongside collective creations like “Fish In A Glass” whose insistent irony wouldn’t be lost on the crowd cheering their exit – because charisma still surrounds them.

The end of the story, then? Time for the band to go? Given their whimsy, here’s hoping they’ll be back one day. ****1/3

DMME.net (August 2017)

Clare’s violin leads ‘The Road To Venezuela’ from THE MAN WITH IN THE BOWLER HAT, one of the most impressive tracks, we also recognize the intro from ‘The Last Plimsoll’ is very BEATLES with always wonderful violin. The famous ‘Syracuse The Elephant’ from the second album is very oriental and sung in a very convincing way with the violin being a true revelation illuminating the concert. The delicious ‘Teatime’ from the same album is also featured, played energetically. If the violin is king, the piano and keyboards also have their time to shine. ‘God Speed The Plough’ has solo piano which is quickly joined by the violin, the piece gains in amplitude with layered keyboards…

Highlands Magazine (Translated – August 2017)

…At the end of a moving farewell tour, they decided to give a final concert at the Fiddlers Club in Bristol on December 19, 2015. That evening they were accompanied by Glenn Tommey (keyboards, vocals), old acquaintance who once played on the first album of The Korgis in 1979, Eddie John (drums) and Clare Lindley (violin, guitar, vocals)…long-time friend Mutter Slater honours the group with his presence on two titles, ‘Purple Spaceships Over Yatton’ and ‘Slark’. Still, with the same sense of derision, Stackridge offers a festive show where good mood is in order despite a palpable emotion…

Prog Female Voices (Translated – July 2017)

This new 2CD live set was recorded at Bristol and as the title says was their ‘Final Bow’ after 45 years the band have finally called it a day. I wish them a long and happy ‘retirement’. To those of you who are familiar with their output you will find, probably, a good few favourites here, remember ‘Do The Stanley’? If you are new to the band prepare to enjoy! I found myself repeatedly going back to CD2 tracks 4-6 and just smiling the tracks in question being ‘No Ones More Important Than The Earthworm’ ‘Lost And Found’ and ‘Boots And Shoes’. ‘Earthworm’ was in fact written by Gordon Haskell (Fleur-dy-lys, Ruperts People) Gordon never became a band member but had many connections, but that’s another story! It’s just a delight of a song and a title! Those three tracks just sum up the band for me. But then there’s ‘Slark’ and ‘Dora The Female Explorer’ and…well its all just so bloody enjoyable. Its fitting this should also be Angel Airs 500th release, half a grand, but a whole grand time to be had by all. Enjoy!

ninebattles.com (July 2017)

…Mutter Slater returns to add flute to signature tune ‘Slark’, and the expansive ‘Purple Spaceships Over Yatton’ but there are newer numbers too. A sad, beautiful farewell – but, given their past, one’s never certain that Stackridge have ever split up for good.

Record Collector (July 2017)

Andy Davis shines on so many tracks but Red Squirrel and The Final Bow glow to my ears. Of course we mustn’t forget little James Warren, who many consider to be the band’s Paul McCartney to Andy Davis’s John Lennon. Here that likeness is reinforced with sweet vocals and Beatlesque harmonies and melodic bass lines, amply showcased on Fundamentally Yours and The Last Plimsol. (And yes you do recognise James Warren’s voice – he sang lead on The Korgis worldwide smash Everybody’s Got to Learn Sometime.)

Both the two aforementioned songs though, first appeared on the George Martin produced The Man in the Bowler Hat, an album he held in much affection and is often considered to be one of the finest albums he produced outside of the Beatles.

In many ways the Beatles comparison is obvious and fitting, the constant need to develop and change, pulling in influences from disparate musical traditions but always remembering to write a killer tune. The difference of course is that no-one wonders why the Beatles are so under appreciated…

This parting gift is full of similar killer tunes, and after 46 years of loving them I am going to miss Stackridge live, but I have this wonderful memory of a wonderful day.

The Progressive Aspect (July 2017)

This 2-CD set captures the band at their final gig in front of a partisan and parochial audience just before Christmas 2015. Of course, we’ve had the previous live set ‘The Forbidden City’ in 2007 so this really is a gentle update as much as a poignant reminder of a great band…Fittingly, given Angel Air’s faith in the band’s more recent restoration, this is the label’s 500th release in its 20th year. Fan and manager reminiscences in the liner notes pad out an excellent souvenir. Stackridge may be history but their music lives on. ****

Get Ready to ROCK! (July 2017)

This recording of their final gig at Bristol’s Fiddlers Club marks Angel Air’s 500th album release and provides an appealing celebration of Stackridge’s quirkily melodic approach to music-making, with former frontman Mutter Slater rejoining their ranks for a couple of perennial crowd-pleasers, “Purple Spaceships Over Yatton” and the epic “Slark”.

Kevin Bryan, Regional Newspapers (June 2017)

Stackridge are at the heart of Angel Air Records, which celebrates its 20th anniversary this year and is now releasing their 500th album…The Final Bow was recorded at a packed Fiddlers Club in Bristol on December 19th 2015 as Andy Davis, James Warren, Clare Lindley, Glen Tommey and Eddie John were joined on stage by former member Mutter Slater. This double CD includes ‘Over The Horizon’, ‘Long Dark River’, ‘Fish In A Glass’, ‘Slark’, ‘Lummy Days’ and ‘Purple Spaceships Over Yatton’.

]]>http://www.angelair.co.uk/?feed=rss2&p=47940DAVEY DODDS Kernowcopiahttp://www.angelair.co.uk/?p=4790
http://www.angelair.co.uk/?p=4790#commentsTue, 04 Jul 2017 14:18:29 +0000adminhttp://www.angelair.co.uk/?p=4790I have always enjoyed Davey’s vocals and the album certainly doesn’t give the impression that he has been away from the scene for so long, nor that he had to get himself a mandolin, as he is in full control, … Continue reading →

I have always enjoyed Davey’s vocals and the album certainly doesn’t give the impression that he has been away from the scene for so long, nor that he had to get himself a mandolin, as he is in full control, and it really was only yesterday that he was treading the boards (I commented that he didn’t seem to have changed much, and the response was “I have a painting in the attic”). This is a truly beautiful album, and credit must be given to Derek Aunger who has worked with Davey to capture an incredible sound…As to the album title, if you didn’t know, ‘Kernow’ is the Cornish name for Cornwall, so it is a play on that and ‘cornucopia’ (an abundant supply of good things). Even though I’m from Devon, I must admit it’s not just pasties and the A38 that are the only decent things coming out from Cornwall: I’ll add this album to that incredibly small list. I Love it.

Amplifier Magazine (February 2018)

This is an album strongly infused with traditional and Celtic themes with the title track telling the story of poor Cornish folks trying the eke out a living whilst the rich Londoner lives high on the hog, but there’s hard edged social and political comment as well, notably on tracks like “Merlin’s Isle of Gramarye”, where he rails against fat-cat politicians and corporate greed, and he ramps up his electric guitar to put this message across forcibly on this which, at nine minutes, the longest track on what is, overall, a really good album.

Classic Rock Society (December 2017)

Often likened to Fish vocally, Dodds’ strong storytelling style comes through in this thoroughly stripped back setting where bodhran, mandolin, fiddle, tin whistle and even ‘bones’ are the backing for the vocalist to tell his tales – two of the musicians involved being Red Jasper men, Robin Harrison and David Clifford. The protagonist certainly hasn’t lost any of his acerbic edge, Dodds still turning a spotlight on what he views as social imbalances. The result is an album steeped in traditions, not just musically but also lyrically…an honest album that thrives on a clear love for the music and approach it employs…

Sea Of Tranquility (September 2017)

Where the Englishman’s erstwhile approach would be to weave his voice into a thick instrumental tapestry and tell a many-layered story, now Davey’s method is creating a threadbare, transparent, web-like experience of a song. It’s a cocoon of sorts, unravelling most impressively when the vocalist looks back on Dodd’s own classics such as “The Magpie” that THE UNTHANKS recently returned to the public attention: stripped of sonic assault and ensemble harmonies inherent to its “Sting In The Tale” original and left at the mercy of its writer’s a cappella choir that doesn’t require even the slightest strum, the tune is packing a mightier punch.

As only a couple cuts are given a group treatment, Davey’s ex-colleagues flocking in to adorn “Shoot The Gruffalo” and “Merlin’s Isle Of Gramarye” in an ethereal electric garb, most of the album numbers glimmer in the light reflected off Dodd’s mandolin and Martin Solomon’s fiddle and Celtic harp which make pieces like “Storm Cat Song” possessed with intrepid spirituality.

DMME.net (September 2017)

It is the harmonica of Kevin Taylor that stands out on ‘The Shaman’s Song’, it’s pretty serious music and full of mystery. ‘Shoot The Gruffalo’ is a sort of frenzied dance in the pure Celtic tradition, a successful way of finishing this beautiful album that at times reminds me of another English giant: JETHRO TULL, the influence can be heard in ‘Kick Off Your Shoes’. Unique music from an album with many traditional instruments – authenticity guaranteed.

Highlands Magazine (Translated – August 2017)

…The Magpie is a striking song because it’s all acapella. A full band version can be found on Red Jasper’s debut album in 1990. ‘The Shaman’s Song’ has harmonica in the arrangement, which makes a positive difference to the other songs of the album. Also remarkable is ‘Merlin’s Isle Of Gramarye’…The guitar and bass guitar are in the hands of Robin Harrison, while his Red Jasper mate David Clifford is on the drums…

ProgWereld (Translated – July 2017)

Davey admits that the prog-rock thing was self-indulgence on his part but some of Red Jasper’s music remains with him and several tracks are reworked on Kernowcopia. He’s also reunited with two members of the band…

RnR Magazine (July 2017)

Dodds enjoys revisiting some emblematic titles of the Red Jasper era. ‘The Magpie’ from Sting In The Tale (1990), recently released by the folk band The Unthanks on their 2015 Mount The Air album, ‘Jean’s Tune’ from A Midsummer Night’s Dream (1993), ‘Ship On The Sea’ and ‘The Shaman’s Song’ from The Winter’s Tale (1994) are among them.

Located at the crossroads between Jethro Tull for music and Fish for voice, Davey Dodds returns to the front of the stage primarily for his own pleasure. And that’s fine!

Prog Female Voices (June 2017)

I have always enjoyed Davey’s vocals, and the album certainly doesn’t give the impression that he has been away from the scene for so long, nor that he had to get himself a mandolin, as he is in full control, and it really was only yesterday that he was treading the boards (I commented that he didn’t seem to have changed much, and the response was “I have a painting in the attic”).
This is a truly beautiful album, and credit must be given to Derek Aunger who has worked with Davey to capture an incredible sound. The only real issue with it is that I have been playing it so much that it stopped me from listening to other material that I should have been getting on with! As to the album title, if you didn’t know, ‘Kernow’ is the Cornish name for Cornwall, so it is a play on that and “cornucopia” (an abundant supply of good things). Even though I’m from Devon, I must admit it’s not just pasties and the A38 that are the only decent things coming out from Cornwall, I’ll add this album to that incredibly small list. I love it.

MLWZ.pl (June 2017)

Dodds’ album is primarily Folk…drummer David Clifford is there on two pieces; guitarist and bassist Robin Harrison even features on “Merlin’s Isle of Gramarye”…otherwise, the album is dominated by Dodds’ vocals and mandolin with Martin Solomon’s fiddle…

Musik An Sich (Translated – June 2017)

Magnificent Cornish storytelling songs from prog rocker Davey Dodds! The best folk release of the last decade!

]]>http://www.angelair.co.uk/?feed=rss2&p=47900RENAISSANCE ILLUSION Through The Firehttp://www.angelair.co.uk/?p=4762
http://www.angelair.co.uk/?p=4762#commentsFri, 05 May 2017 12:33:53 +0000adminhttp://www.angelair.co.uk/?p=4762Two bonus tracks are included: The first, ‘If There Was Something I Could Change’, contains excellent guitar parts by Dzal Martin, as well as a beautiful sequence of pan flute. ‘Moving On’ is quite similar with its beautiful guitar and … Continue reading →

Two bonus tracks are included: The first, ‘If There Was Something I Could Change’, contains excellent guitar parts by Dzal Martin, as well as a beautiful sequence of pan flute. ‘Moving On’ is quite similar with its beautiful guitar and piano, a delicious way of complementing the voice of McCarty…this music is sensitive, rich, and not to be judged on a single listen.

Highlands Magazine (Translated – August 2017)

…thankfully the music herein displays more creativity and imagination than the band name, as tracks like opener ‘One More Turn Of The Wheel’ and ‘Glorious One’ take obvious inspiration from McCarty’s beliefs, with much of the music on the record reflecting the peace and serenity and occasional almost trance-like feel of this philosophy…if you like those original Renaissance and Illusion templates, give this a try…it doesn’t stray to far from that template…

Classic Rock Society (July/August 2017)

It started out as a McCarty solo project – Jane Relf’s vocals are restricted to harmonies, but the dreamy, spiritual otherworldly atmosphere of Illusion remains, whether the floating soundscape of ‘Mystery Of Being’ (which turned up in a louder vein on The Yardbirds’ 2003 return ‘Birdland’), the eastern trills of ‘One More Turn Of The Wheel’ or the title track with its new age synth, this is far more than merely a casual reunion and it’s topped off with a couple of decent previously unheard tracks too.

Record Collector (July 2017)

From start to finish you are taken on a whirlwind tour of the exotic sounds and nuances of musical styles from peoples and cultures around the world. The Angel Air label’s decision to re-release this long unavailable album is to be warmly congratulated. It is captivatingly atmospheric, whisking you away to a decidedly gentler place and what feels like a much kinder space, where you can put aside the worries and complexities of the moment and enjoy the sounds of happier times.

The Progressive Aspect (May 2017)

Having recorded solo albums in the ’90s, Jim McCarty decided in 2000 to form Renaissance Illusion with his former bandmates Jane Relf, Louis Cennamo and John Hawken, who had all been with him in his bands Renaissance and Illusion, to record a new album.

That album was long out of print but now rereleased with two previously unheard bonus tracks – ‘If There Was Something I Could Change?’ and ‘Moving On’.

Bev Bevan, The Sunday Mercury (April 2017)

…meanwhile McCarty made solo albums and in an interview with Radio 68 he calls “Through The Fire” half solo, semi group. ‘Half solo’ because he wrote everything and sings most of the songs, ‘half group’ because he had, in his own words, not only the need for the talent of his old friends but also their ability to provide ‘chemistry’…The result is a piece that I would rather call spiritualistic than prog, also due to the spiritual message of McCarty’s lyrics: the imbalance in the world, the mystery of life (‘Mystery Of Being’), the importance of people with good heart (‘Good Heart’), the wisdom of the master himself (‘Glorious One’) and core elements such as karma and rebirth (‘One More Turn Of The Wheel’, ‘Through the Fire’).

Musically the group finds a nice balance between the atmosphere needed to create such a spiritualist foundation on the one hand and the needs of a progressive rock album on the other. McCarty sings the praises of Louis Cennamo and especially the classically trained pianist Hawken, who then turned a song with two chords to a charming song (‘One More Turn Of The Wheel’). ‘Good Heart’ and the two bonuses certainly provide the necessary rhythm…

Keys and Chords (Translated – April 2017)

…the surviving members of the original Renaissance line-up did reconvene three decades later to record a splendid new album in the shape of ‘Through The Fire.’ As an exercise in melodic soft-rock this tastefully constructed package was well nigh faultless, with ‘One More Turn Of The Wheel’ and ‘Mystery Of Being’ emerging as two and the stand-out tracks.

Kevin Bryan, Regional Newspapers (April 2017)

As with most of this version of Renaissance (and Illusion), the basis of this album may be more song based than many will expect, memorable and gently hook laden choruses sticking long in the mind as the likes of “Good Heart”, “Glorious One” and “My Old Friend” play out. The latter a beautifully poised selection that conveys loss and time passing in a cleverly accessible manner, even as its pace refuses to rise above an engaging crawl. With “Beyond The Day” a gentle sway that incorporates pipes and whistle and “Through The Fire” almost a casual jaunt that possesses a decided glint in its eye, while this album could never be seen as anything other than reserved and controlled, it is somehow surprisingly diverse. This Angel Air reissue adds two previously unheard bonus selections in the shape of “If There Was Something I Could Change?” and “Moving On”, which thankfully don’t break the album’s spell, fitting the mood and atmosphere perfectly. As such they are both welcome additions and, rather pleasingly, just as good as anything the original release contained.

They may have been overshadowed by the band they formed and then left behind and their reappearance as Illusion. However, with this solitary album Renaissance Illusion created a worthy legacy of their own and one that in this hectic world provides an excellent opportunity to slow down and relax with some beautifully poised and memorable music.

]]>http://www.angelair.co.uk/?feed=rss2&p=47620SHOOT On The Frontier CDhttp://www.angelair.co.uk/?p=4723
http://www.angelair.co.uk/?p=4723#commentsMon, 06 Feb 2017 03:59:41 +0000adminhttp://www.angelair.co.uk/?p=4723Shoot’s one and only album was recorded at Abbey Road and Air studios in early 1973, and produced by Ian McLintock, who’d played with The Others, Sands and Sundragon before moving into the production field at EMI. “I knew The … Continue reading →

Shoot’s one and only album was recorded at Abbey Road and Air studios in early 1973, and produced by Ian McLintock, who’d played with The Others, Sands and Sundragon before moving into the production field at EMI. “I knew The Others because they were all at my school, Hampton,” notes Jim. Released later that year, the album features an impressive set of melodic West Coast-flavored material, all but one song composed (or co-written) by McCarty. The opening “Neon Life” is a standout with its soaring vocal harmonies, tasteful lead guitar work and jazzy undertow. “Neon Life” was about that late city life that I was trying to avoid at that time,” says Jim. “I’d moved out of London about 20 miles and relished the peace and quiet where I lived.” The haunting “Sepia Sister” is another highlight, its gentle acoustic backdrop cloaked by clouds of Mellotron and psychedelic lead guitar. “Sepia Sister” was influenced by the spaciousness of America – something I’ve always loved,” says McCarty. “I liked those old sepia prints from the Wild West. The Mellotron was pretty fashionable at the time and really brought out the feeling of spaciousness in that song. Also, you didn’t have to be a keyboard virtuoso to play it!”

…Unfortunately the album sold unspectacularly at the time. “I’m afraid we had very little airplay and consequently never really got off the ground in terms of touring,” recounts Jim. “We recorded some more demos, but were not taken up by the record company.” The group split up soon afterwards. “It was all very disappointing,” he admits, “but I think the album does sound pretty good now, and I’m very happy it got a rerelease.”

The CD reissue by Angel Air adds two tracks from a December 1972 BBC radio session, “Neon Life” and an otherwise unrecorded song, “Storms as Sorrows”.

Ugly Things Magazine (Summer/Fall 2017)

On this CD debut (with 2 extra items), the compositions per se still shape up to confident and often unorthodox arrangements, passing any artistic litmus test if stripped down to just voice and piano, as is actually the case for half of waltz-time ‘Old Time Religion’, a most immediately memorable opus along with ‘Ships And Sails’, guitarist Dave Greene’s brief ‘Head Under Water’ instrumental, the understated tension of ‘Sepia Sister’ plus the title track (and spin-off single)

R2 Magazine (May/June 2017)

Released in 1973, it keeps a wide berth from the sort of sweeping acoustic-based prog of that early Renaissance in favour of a largely soft-rock approach which yet lurches wildly and unpredictably into country-rock, blues, folk-boogie and even some art-pop, worthy of the nascent 10cc. The latter is best represented by the opening track and probably the standout, the very cleverly composed and played ‘The Neon Life’. Other highlights are the subtle yet charming ‘Sepia Sister’ and the lengthy closer ‘Mean Customer’.

Classic Rock Society (May/June 2017)

It’s a shame that Shoot’s flame burned out so quickly, as this debut showed a lot of promise but ultimately it was to be the lone recorded output from the band before they broke up. Angel Air has gone to great lengths to make On the Frontier’s first appearance on CD a good one, complete with a detailed history of the band and photos. It’s well worth investigating for those always searching for rare ’70s rock.

Sea Of Tranquility (April 2017)

‘The Neon Life’ is responsible for opening the album and it is particularly well placed, led by Jim’s piano. The saxophones of Lyn Dobson and Bob Birtles give a jazzy colouring…We notice the importance of Jim’s dominant voice, with beautiful vocal harmonies on ‘Ships And Sails’ combined with sumptuous arrangements, and wonderful guitar. ‘Living Blind’ has electric piano bringing a funky side, also enhanced by the saxophones and feverish guitar. Jim’s voice is warm and melodious.

All the sound of the west coast of the United States is honoured on ‘On The Frontier’ where BJ Cole plays the pedal steel guitar. In 1973, this track was offered by Jim to Renaissance for his fourth album ‘Ashes Are Burning’…two bonuses are included from radio sessions…a beautiful version of ‘The Neon Life’ where guitar and piano are worth the detour. One wonders why this album has gone completely unnoticed, certainly hidden by the stars like Roxy Music, Queen and Genesis.

Highlands Magazine – Translated (March 2017)

Jim’s former group would cover the title piece of “On The Frontier” a few months down the line, but there’s a charged urgency to the ivories-driven original to send ripples across the tracks and veer away before voices elevate the country-tinctured “Midnight Train” above the painstakingly textured surface of the record – best felt on “Sepia Sister” which, in its grand understatement, could shine on McCarty’s next venture, ILLUSION. In a SHOOT context, though, the momentum-gaining “Living Blind” unfolds as a demonstration of the band’s jazzy edge, from electric keyboard strokes to the shards of brass that are also sprinkled over Greene’s acid-kissed six strings to add a touch of psychedelic delight to “The Neon Life” whose previously unreleased live-on-radio version extended it to highlight the collective’s interplay and vocal harmonies.

Another bonus, “Storms As Sorrows” where wah-wah has a field day, didn’t make the cut, but if it did there would be a nice arc between this number and an almost orchestral “Ships And Sails” which is weaving acoustic lace around the same bobbing bass. Just as majestic, and helped by a new RENAISSANCE’s John Tout on piano, “Old Time Religion” paints patinated lines over a hymnal swell, but it’s “Mean Customer” that rhythmic wonders are housed in to shake off the cobwebs and welcome raga into the fold.

Slightly exotic, although not going all over the place, the album would struggle to find a listener, so after a handful of concerts, the players became disillusioned and soon went separate ways; their only collaboration remains an essential piece of British art-rock rock puzzle. ****

DMME.net (March 2017)

This in fact is mostly soft rock with hints of country, psych and prog here and there, with only ‘The Boogie’ being somewhat in blues mode…Dave Greene plays incisive guitar on ‘The Neon Life’ and is excellent throughout; on some tracks the exceptional Lyn Dobson (ex-Georgie Fame and the Blue Flames) and Bob Bertles (ex Max Merritt & the Meteors) augment on horns; there are two bonus tracks, from radio sessions.

Blues In Britain (March 2017)

Their one and only album…now released for the first time on CD, Jim McCarty has added 2 previously unreleased radio session bonus tracks – ‘Storms As Sorrows’ and ‘The Neon Life’.

Bev Bevan, The Sunday Mercury (February 2017)

The band made only a scant number of live appearances and managed only a single album, On the Frontier, now reissued by Britain’s highly laudable Angel Air label with two radio sessions tagged on for good measure…a closer listen reveals several hidden gems – the supremely melodic “The Neon Life,” “Ships and Sails” and the title track (belatedly covered by a McCarty-less Renaissance) among them…there’s something to be said for the album’s sensual sound, making it more than a mere curio and a still-worthy part of the Yardbirds’ lingering legacy.

Goldmine Magazine (February 2017)

It’s a shame that Shoot’s flame burned out so quickly, as this debut showed a lot of promise but ultimately it was to be the lone recorded output from the band before they broke up. Angel Air has gone to great lengths to make On the Frontier’s first appearance on CD a good one, complete with a detailed history of the band and photos. It’s well worth investigating for those always searching for rare ’70s rock.

Sea Of Tranquility (February 2017)

This is the first time that this album has ever been made available on CD. Shoot was a short lived band. During the time they were together, this is the only album they released in 1973. The band was comprised of Jim McCarty (lead vocals, keyboards, percussion), Dave Greene (vocals, guitars, banjo), Bill Russell (bass), and Craig Collinge (drums, percussion). Principle songwriter McCarty is best known as the drummer in The Yardbirds and Renaissance. But he has also released solo albums and played in Together, Illusion, Box of Frogs, Stairway, The British Invasion All-Stars, and Pilgrim (whew!).

This is one of those cases in which this album will probably find an entirely new listening audience in 2017. It seems sad that these tracks have been unavailable for such a long time. Although recorded decades ago, these recordings have lost none of their magic over the years. The playing is precise and inspired, and the vocals are simply amazing. Recorded at Abbey Road studios, these cuts still sound amazing. In addition to the original ten tracks on the original album, this reissue also includes the bonus tracks “Storms As Sorrows (radio session)” and “The Neon Life (radio session).” Listening to this, one can’t help but wish these guys had kept things together longer to record more music. Another true gem unearthed by the folks at Great Britain’s Angel Air label.

babysue (February 2017)

A forgotten jewel of former Yardbirds and Renaissance drummer Jim McCarty. ‘Shoot’ missed the commercial goal in the seventies but is nevertheless an impressive album.

Keys and Chords (January 2017)

This album will tweak the interest of classic rock fans, featuring the drummer from The Yardbirds and the original line-up of Renaissance, Jim McCarty.

Originally released in 1973 it failed to make much of an impact; the band hardly gigged to support it. However, now on CD for the first time, it is something of a lost psychedelic progressive rock gem.

]]>http://www.angelair.co.uk/?feed=rss2&p=47230GORDON GILTRAP & PAUL WARD The Last Of Englandhttp://www.angelair.co.uk/?p=4681
http://www.angelair.co.uk/?p=4681#commentsMon, 02 Jan 2017 16:47:41 +0000adminhttp://www.angelair.co.uk/?p=4681With beds of synths crafting alluring soundscapes and orchestral arrangements, Giltrap mesmerizes with his nimble guitar flights, as on the folky prog of “Spring” or the epic title track, while “All the Days of May” is just gorgeous, melodic pop … Continue reading →

With beds of synths crafting alluring soundscapes and orchestral arrangements, Giltrap mesmerizes with his nimble guitar flights, as on the folky prog of “Spring” or the epic title track, while “All the Days of May” is just gorgeous, melodic pop music that enchants on every level. It’s not all upbeat and wispy however, with “The Light of the World” having more of a somber tone and the solo Giltrap piece “Loren” also taking a more poignant, emotional course, but for the most part, this is a very uplifting album that tugs at your very soul. “Work” is just lovely, a symphonic prog ride littered with Giltrap’s deft picking, and Ward’s fine church organ adds a majestic touch to the grand “The Anna Fantasia”. Fairport Convention’s Rick Sanders even shows up as a guest on the final track “A Promise Fulfilled”, easily the albums brightest song and a lovely way to end this magical album.

…Filled with memorable melodies and fantastic instrumentation, it’s a can’t miss instrumental album for anyone into folk based prog music with killer acoustic guitar work and symphonic keyboard arrangements. Well done guys!

Sea Of Tranquility (October 2017)

This inventive pairing has resulted in a warm, pastoral record inspired by Pre-Raphaelite art. Ward’s synth flourishes and string arrangements are never obtrusive, serving to underscore each hypnotic guitar figure.

Ford Madox Brown’s haunting painting The Last Of England is the stunning cover of this limited edition vinyl album, 10 tracks that in the old days of prog rock, might have been called a suite. But it’s hard to get a handle on the music. Paul Ward lays down glorious melodic washes of floating synth, creating ethereal backdrops for Giltrap’s guitar work, always underrated and empathetic. And his neo-baroque licks mesh well with the grandeur of Ward’s keyboard creations. The result is a a rolling ambient soundscape of much beauty. Peculiarly it’s only at the end that you realise that there’s nary a tune in sight.

This uplifting album takes its name from an 1855 oil painting – ‘The Last Of England’ by Ford Madox Brown. Both painting and record supply feelings of light & flight and deliver a promise of a better tomorrow beyond brush strokes and detailed liner notes.

There is much Greensleeves and Lavender Blue in folk tempo – a delightful dilly-dally – the whole album acts as a whole and although each of the fourteen tracks bear their own names, such as ‘April Love’ and ‘Sadie In May’, the default position is always the ever faultless, ‘The Last Of England’. Highly recommended. 10/10

Mark Watkins (August 2017)

Giltrap remains one of the supreme folk guitar stylists of any era. This collaboration with keys meister Paul Ward brings out the best of both men. ‘The Last Of England’ is grounded by Ward’s vast cinematic keyboard sweeps (redolent of his film and TV work), while Giltrap’s intricate finger picking is pure English shires on a summer’s day . Indeed several of the tunes, including the title track, might be lifted from a film score about the Pre-Raphaelite painters whose work inspires much of this album. Meditative ballads like ‘This Father’s Love’ and the glorious hymn-like ‘The Anna Fantasia’ showcase Giltrap at his best.

Prog Magazine (April 2017)

All compositions and acoustic guitar work are by Gordon Giltrap while the keyboards (at least 16 types) are by Paul Ward. One is unlikely to distinguish between the various Moogs, Rolands and Mellotrons etc, but overall there is the effect of full orchestration without being overloaded.

Guitar carries the main tune each time and the guitars used were made by Roger Bucknell of Fylde Guitars except for a 3/4 sized instrument produced by Paul Brett of John Hornby Skewes. Giltrap’s technique is well known and recognisable throughout this disk but the track ‘Spring’ is the most in his tradition.

Tracks 1 to 7 are reflections on famous Victorian Pre-Raphaelite paintings and are subtitled ‘The Brotherhood Suite’, the original paintings being described briefly in the liner notes. The 8 1/2 minute title track ‘The Last Of England’ is a well-balanced piece introducing this section while ‘Work’ provides a percussive, lively conclusion…

Pipeline Magazine (Spring 2017)

…Giltrap starts in harmony on the atmospheric ‘April Love’, accompanied by the Mellotron flute. Acoustic guitar provides sweet nostalgic efflorescence in the opening of ‘From The Light Of The World’, there are some programmed drums which are happily fleeting – the acoustic guitar, accompanied by a translucent orchestration quickly returns. ‘Loren’ offers guitar arpeggios, with an opening in the vein of Anthony Phillips. The resemblance is striking, with the same sense of beauty and shade. ‘The Anna Fantasia’ has dreamy guitar in the introduction, keyboards providing an atmospheric counterpoint. ‘This Father’s Love’ begins with serene acoustic guitar, enhanced by a fine orchestration, offering a feeling of serenity…it should be noted that inspiration inhabits the entirety of this collection. A great success! 4/5 Stars

Highlands Magazine – Translated (March 2017)

Weaving silvery vignettes over a pastel backdrop, an unobtrusive mood-setter of sorts, the maestro’s acoustic guitars project a lucid pastorale to enchant the listener, while the ivories delicately spill pointillist drops on the landscape and elevate the panorama of the title piece, and the entire “Brotherhood” suite, to a 3D-vista. A meditative “Ania’s Dream” may suggest there’s a new-age kind of slow motion on display, what with instrumental voices almost turning “Plas Oriel” into a maudlin song, but melancholy doesn’t belong here: “The Anna Fantasia” is a solemn hymn, “Spring” a jovial minuet, and it takes “Work” to reveal a rock-minded contrast between drama and serenity. Still, Gordon’s Gordian knot of folk tunes and prog sophistication & Ward’s sentimental telepathy come to full fruition on “A Promise Fulfilled” with FAIRPORTS’ Ric Sanders violin leading them towards cosmic dance.

If this is the future of Albion they’re heading for, it’s not the last we’ve seen of England: until artists exist there, it’s going to rule aural waves. ****3/4

DMME.net (March 2017)

How can anyone fault the faultless? Anyone who’s into what Giltrap brings to the table – acoustically or electronically – will be truly endeared by this release. And the team-up with producer Paul Ward, who supplies the keyboards and expansive backdrop to this album, is an inspired success. Beautiful and gentle in the main, sometimes folky but unmistakably Giltrap. If you’re a fan or not, but appreciate acoustic guitar, this is most definitely your cup of English tea.

Classic Rock Magazine (March 2017)

…The delicate ‘Ania’s Dream’ is a wonderful marriage of guitar sympathetically underpinned by church organ, whilst the liveliest track is saved to the very end. ‘A Promise Fulfilled’ sees Fairport’s Ric Sanders adding his distinct violin, who along with Gordon and Paul offer a rousing conclusion to The Last Of England.

Gordon Giltrap and Paul Ward have produced something rather special here and a release that ranks very highly in the GG catalogue. The Last Of England is a wonderful testament to Gordon Giltrap and his music…

The Progressive Aspect (March 2017)

This is a different sort of album than what we’re used to hearing from Great Britain’s Angel Air label. A few years ago this probably would have been categorized as new age or world music. But in 2017, folks would probably just describe this as instrumental. Guitarist Gordon Giltrap has been making music for decades. He came to the attention of most of his fans with his 1978 hit “Heartsong.” Ever since, he has continued playing for his ever-growing fan base. For this album, Giltrap teamed up with keyboard player/producer Paul Ward. Together, the two present some very subtle instrumentals that feature excellent gliding melodies and articulate arrangements. If there’s a single word we would use to describe this music that word would be…inspired. Fourteen immaculate tracks here including “The Last of England,” “April Love,” “Sadie In May,” and “A Promise Fulfilled.”

babysue (February 2017)

Now Gordon has teamed up with keyboardist and producer Paul Ward to release an innovative new album that crosses several styles, from prog to rock to pop to classical, in the unique style that Gordon has developed and honed over his career.

Bev Bevan, Sunday Mercury (January 2017)

Giltrap and Ward serve up an attractive blend of old and new composition for your listening pleasure, including a suite of evocative instrumental pieces inspired by the significant pre-Raphaelite paintings hanging in the Birmingham Art Gallery, most notably ‘All The Days Of May’ and the epic title track.

Kevin Bryan, Regional Newspapers (January 2017)

Ward’s arrangements are never intrusive but always complementary giving an extra dimension to Giltrap’s solo guitar. It’s evident a lot of thought has gone into this aspect, and the informative liner notes highlight the mutually shared inspiration. Fairport’s Rick Sanders adds violin to the closing piece – and standout – ‘A Promise Fulfilled’.

]]>http://www.angelair.co.uk/?feed=rss2&p=46810ROBIN SARSTEDT TUhttp://www.angelair.co.uk/?p=4650
http://www.angelair.co.uk/?p=4650#commentsWed, 02 Nov 2016 13:10:35 +0000adminhttp://www.angelair.co.uk/?p=4650Away from music for a long time, as there was only a collaboration with Peter on 1986′s “Asia Minor” after “You Must Remember This” that had been out six years earlier, Robin’s comeback wasn’t overdue, to say the least – … Continue reading →

Away from music for a long time, as there was only a collaboration with Peter on 1986′s “Asia Minor” after “You Must Remember This” that had been out six years earlier, Robin’s comeback wasn’t overdue, to say the least – nobody could hope for a new album – but he’s on a roll again, and is good at it. Mostly acoustic, with keyboard providing a delicate backdrop to an exquisite guitar strum, the pieces on “TU” are brimful with gratitude to life that’s never taken for granted, and not for nothing, opening with the artist’s own “Love Can Hurt” whose bittersweet optimism is a light at the end of memory lane, the record is resolved with Dylan’s “Forever Young” because there’s a blessing in every experience Sarstedt has gone through to tell about now.

He’s no stranger to a singer-songwriter stance, but the concise autobiography “I Just Want To Rock ‘n’ Roll” betrays a rebel under a bard’s skin, and the jagged riff of “Back Again” scratches against its tanned complacence – a deceptive kind of veneer which can be easily broken when sociopolitical affairs come into romantic play on this track or a cover of brother Peter’s “Beirut” – while Robin’s take on Ric Grech’s “Kiss The Children” adds baroque air, that Gram Parsons’ version didn’t have, to the proceedings. And if “Song For Tessa,” a ballad dedicated to Sarstedt’s late wife, is straightforwardly lyrical, “Losin’ End” cuts the deepest, whereas the determination of “Doggone” has its harmonica-oiled bluesy twang shaping a bright tomorrow – or TU-morrow – for Robin. He persevered with this music, and it’s time for him to carry on. ****

DMME.net (February 2017)

His latest album ‘TU’ is a melodic one, featuring several self-penned compositions plus versions of two Peter Sarstedt songs – ‘Beirut’ and ‘Mellowed Out’ – two Bob Dylan – ‘Thunder On The Mountain’ and ‘Forever Young’ – and Michael McDonald’s ‘Losing End’.

Bev Bevan, Sunday Mercury (December 2016)

…There’s some lovely guitar playing, too; smooth and vaguely bluesy riffs on the electric guitar and some nice picking on the acoustic guitar. He opens with a selection of his own songs, all of which are strong compositions, before some covers, including ‘Beirut’ by brother Peter and Nobel Laureate Bob’s ‘Thunder On The Mountain’.

]]>http://www.angelair.co.uk/?feed=rss2&p=46500MUTTER SLATER BAND The Champhttp://www.angelair.co.uk/?p=4585
http://www.angelair.co.uk/?p=4585#commentsTue, 04 Oct 2016 15:45:19 +0000adminhttp://www.angelair.co.uk/?p=4585The album finishes with a wonderful ballad ‘I’m Not The Man’ where Mutter SLATER offers a new song of love with a sequence of flute in the finale…The MUTTER SLATER BAND gives you the assurance of having a good time. … Continue reading →

The album finishes with a wonderful ballad ‘I’m Not The Man’ where Mutter SLATER offers a new song of love with a sequence of flute in the finale…The MUTTER SLATER BAND gives you the assurance of having a good time.

Highlands Magazine (Translated – August 2017)

…His second sees a five piece band – subtle guitar, rich sax, hammond – used to startling effect; a progressive West Country reinvention of Gulf Coast roadhouse rock ‘n’ soul music. The slow arm title track would make Dan Penn and Spooner Oldham smile. ‘Why Are You Talking To Me?’ rocks with selfish abandon and yet ‘Even Love?’, with Mutter’s echoing flute, could eerily be a modern Stackridge number. All with one of the greatest unsung voices in British music at the fore.

Record Collector Magazine (November 2016)

Champ is an album of sophisticated rock with a retro feel. In fact, there isn’t that much flute and the chief instrument is Clive Ashley’s tenor saxophone underpinned by Tom Hughes’ organ and a solid rhythm section. Nor is there much of the eccentricity of Stackridge, although ‘Icing On The Cake’ could well date from them, cleverly playing with a pun on ‘counter culture’. It’s a great song, as is ‘A Day On The Town’, which reminds me oddly of Ray Davies – world weary and bluesy with its finger on the pulse of a seedy pub, and restrained lead guitar from co-producer Chris Cleaver. The title track is pure melancholy with sax and organ playing a tired duet. The band is extremely tight, as it should be after ten years and three previous albums, and it all sounds effortless. If I called it laid back you might get the wrong idea because there’s an edge to all the songs and a sting in the lyrics.

R2 Magazine (November 2016)

The name Mutter Slater is familiar to many people, mostly in Great Britain as Slater was the frontman and flute player for many years in the critically-acclaimed pop band Stackridge. Now that the band is sadly no more, individual members are (thankfully) continuing to make music. As you might expect, Slater’s music has changed and evolved since his days playing pure pop in Stackridge. The Champ finds him writing and recording songs heavily influenced by American blues, soul, and rhythm and blues. Slater’s voice adapts beautifully to this style of music. These tracks have a nice smooth sound, and an overall laidback vibe. Joining Mutter on these recordings are Chris Cleaver, Clive Ashley, Dan Wheeler, Tom Hughes, and Ian Oliver. Nine relaxed pensive cuts including “Even Love?”, “Icing On The Cake,” “The Champ,” and “I’m Not The Man.”

babysue (October 2016)

In sound it’s still the 70s, a blend of the folk, rock and the psychedelic that reminded us of Traffic. It could be a little heavy handed but it’s not, Slater having a good ear for melody and still wielding a mean flute. Opener ‘Even Love?’ is a slower, bluesy rock tune that’s not the best but does indicate what’s to come, with flute and sax. The next song, ‘Your Love Affair With Pain’, is funkier and more on the pop side, with some nice sax. Elsewhere, the upbeat ‘Icing On the Cake’ has some good Dylanesque organ. ‘Jesus In The Backyard’ mixes prog and blues and showcases all the instruments; take a listen to that or the jaunty country-tinged ‘Why Are You Talking To Me?’ Overall, it’s a strong album, and for fans of 70′s rock, a good one to buy and tell all their friends about. But don’t believe us; Uncle Billy Bragg says: “Mutter Slater has one of the greatest voices of British rock, and he writes a mean song, too.”

The Chronicle (September 2016)

The Champ is filled with fine British rock with a main influence from classic R&B of the ’60s. What hit me right from the start was Slater’s excellent lead vocals. His voice is deep and clear with excellent tone and depth of feeling. Every song is strong but if I had to pick a few favourites I would choose the heart wrenching balladic title track, the tender “I May Not Be An Angel” with its lovely organ and guitar and the catchy R&B of “Icing On The Cake” with its nice acoustic flavour.

The Champ proves the old guard can still make some great music. In this day and age when it seems substance and quality is sorely lacking in popular culture, it is refreshing to hear music full of soul and passion. Another highly recommended release courtesy of Angel Air Productions.

Sea Of Tranquility (September 2016)

With Cleaver and Hughes producing and engineering, the nine tracks on The Champ take the listener through all kinds of bluesy rock terrain and Mutter’s lyrics are key to understanding the power and the glory behind Mutter’s latest rock classics. Best listened to several times to gain the full impact, with The Champ, The Mutter Slater Band has produced a 21st century music classic.

MWE3.com (September 2016)

The music can be described as “blue-eyed soul” and the lyrics are about human strength and tenderness, love, bars, train and bus rides, long walks and cosmic disintegration. Mutter’s voice has become more mature over the years, which is evident on “Icing On The Cake”. The title track is a ballad with a sax solo. “Jesus In The Backyard” is sometimes more rocky. For lovers of mixed forms of blues with soul and R & B.

Keys and Chords (September 2016 – translated)

The man who Billy Bragg once haled as ‘one of the greatest voices of British rock’ still turns out effortlessly melodic albums from time to time, marrying his enduring love of sixties blues and soul with a lyrical sensibility which couldn’t be more quintessentially English as he unveils the freshly minted charms of ‘I May Not Be An Angel’, ‘Even Love?’ and the majestic title tune.

]]>http://www.angelair.co.uk/?feed=rss2&p=45850SNAKE EYE The Journeyhttp://www.angelair.co.uk/?p=4576
http://www.angelair.co.uk/?p=4576#commentsTue, 04 Oct 2016 15:31:18 +0000adminhttp://www.angelair.co.uk/?p=4576Strangely for an album where they are buried deep within lengthy twin guitar interplay and booming rhythms, the vocals from Dave Ritchie offer a dreamy change of mood that fits the music well. Although there’s little doubt that it’s the … Continue reading →

Strangely for an album where they are buried deep within lengthy twin guitar interplay and booming rhythms, the vocals from Dave Ritchie offer a dreamy change of mood that fits the music well. Although there’s little doubt that it’s the fret work of Ritchie and Ron Hales, and how that melds keenly with Ken Giles’ bass, that is the key to what makes The Journey as engaging as it is. Drummer Steve Jackson holds up his end of the deal, eagerly adding emphasis and style – as does Gary Boroughs who appears behind the kit on two tracks to Jackson’s four…the six main album cuts are worth the price of entry alone, the easy mannered but pinpoint sharp and hugely memorable melodies this outfit were capable of weaving, really quite impressive.

Personally I’d never heard of Snake Eye before this welcome Angel Air release, something explained by the fact that these recordings have never actually seen the light of day before. The debut Snake Eye album coming some 44 years too late for them to hit the big time. Which when you consider just how good their music was, is nothing short of a travesty. Fans of Wishbone Ash will lap up The Journey and wonder at what could have been for an undiscovered band that deserved so much more.

Sea Of Tranquility (February 2018)

All written by Richardson, with the exception of a co-write with Hales (original drummer Jackson was replaced by Gary Burroughs on two tracks, liner notes misspell), half the number of tracks compared to Red Dirt’s debut signal the new direction. Pulsing Rickenbacker stereo bass opens the title track, joined by orchestral-like guitar and atmospheric harmonies, then the dreamy interludes of World In A Mountain build to fine solos. Twin guitars (both Gibson SG’s) swirl over a Nick Pickett-sounding vocal (Sweet Dream Lady), followed by shimmering cymbals with guitar-picking, power drumming and bass oscillating crescendo and interlude (The Heart Of A Young Boy). As it’s about a youth’s early death, the twin vocals haunt in their contrast fitting the tragic theme; one can even imagine the poor chap’s last breathing. This isn’t prog for its own sake but inventive creativity.

Energy is upped with prickly, staccato guitars reminding of Steve Hillage complete with some pungent riffing (Don’t Be A Fool), then atmospheric vocal and wide palette on the mystical 13-minute closer The Journey’s End. All combine for middle riffs as time changes stun by their variety, a hallmark of this imaginative combo. The bonus tracks are a surprise-but not if you have the Red Dirt album. The violin-led (by multi-instrumentalist Dave Richardson) group composition Tolly Cobbold, from early Morgan sessions in 1970, would have been perfect for a quirky single-think of a jam with East of Eden and Steeleye Span!

Psychedelic Baby Magazine (January 2017)

The album was recorded in 1972, but then, despite hawking it around various record companies, it failed to get a release and the band folded (until, that is, guitarist Ron Hales resurrected them with a new line-up this year). They deserved better, as this six track album, with its twin lead guitar form, is a pretty enjoyable listen…an interesting enough curio to invest in and see for yourself.

Classic Rock Society (January / February 2017)

If your hankering terribly for early-70′s twin lead guitars, you owe it to yourself to sniff out The Journey (****) – recorded in ’72 but unreleased until approximately this instant…Formerly trading as Red Dirt, under which name they issued a hugely collectible self-titled album for Fontana in 1970, Snake Eye played with a tenderness that whispers volumes about their maturity and discreet confidence. The title track and ‘Don’t Be A Fool’ are little paragons of jazzy, gentle sophistication, while you could play the dry and deliberate ‘World In A Mountain’ to any of your muso pals and tell them it was by Wolf People, and they’d believe you. Yep, it’s that good.

Shindig Magazine (December 2016)

…Strange as it may seem, the most elaborate and at the same time beguiling display of the group’s method is epic “The Journey’s End” where a psyched-up tension and romantic release bring out the best in them. The clarity is there, in the title track, whose two guitars – that Ron Hales and Gary Boroughs interweave in an intricate if loose pattern akin to early WISHBONE ASH – envelop a jazz-tinged rhythm and introduce mellifluous vocal harmonies, and in the intermittently effervescent “Don’t Be A Fool” that Dave Richardson’s pipes inform with a call to action.

DMME.net (December 2016)

The Journey was recorded in 1972 but never released. Dual guitar, changes of tempo with melodic to heavy elements of both British and American rock infecting their sound, allowing the listener to draw comparison to everyone from Blue Cheer to Wishbone Ash.

Record Collector Magazine (November 2016)

Lengthy tunes filled with extended, melodic guitar solos, more than a fair share of complex musical passages, strong vocals, and the occasional heavy riff…these are some of the characteristics that you’ll find on the one and only release from Snake Eye, titled The Journey. Originally recorded in 1972 but failing to secure a label for its release, this British band played numerous gigs with some of the heavyweights of the day but quickly folded, never allowing The Journey to see the light of day until now thanks to the folks at Angel Air Records. With a dual lead guitar attack that owed as much to Wishbone Ash as it did to the Allman Brothers Band, Snake Eye were ripe for stardom but it was sadly never to be. The album is an excellent snapshot of the times, the guitar interplay stupendous on tracks such as “World in a Mountain”, “Sweet Dream Lady”, the jazzy “Don’t Be a Fool”, and the epic Wishbone Ash-meets-King Crimson intensity of “The Journey’s End”.

Angel Air have added two bonus tracks here, “Tolly Cobhold” and “Hoe Down”, both brief tracks that are in a completely different style than the rest of the album, more of a country & bluegrass flavor than the progressive hard rock, blues, and jazz that you’ll hear prior. Apparently the band have reformed with original guitarist Ron Hales at the helm, so it will be interesting to see what the future holds for Snake Eye. In the meantime, any fan of early ’70s hard rock & prog will want to investigate this one.

Sea Of Tranquility – Staff Roundtable (October 2016)

With the song ‘The Journey’s End’, they prove their great potential and you can only regret that the band prematurely shut down. There are also two interesting bonus tracks that actually come from their folk roots. ‘The Journey’ may therefore tempt us. Singer Ron Hales has now brought the group back together and this re-release will be performed live in Hull on 14th October. Let’s see what happens after this reunion. To be continued!

Keys and Chords (October 2016 – Translated)

…The six main album cuts however are worth the price of entry alone, the easy mannered but pinpoint sharp and hugely memorable melodies this outfit were capable of weaving, really quite impressive. Personally I’d never heard of Snake Eye before this welcome Angel Air release, something explained by the fact that these recordings have never actually seen the light of day before. The debut Snake Eye album coming some 44 years too late for them to hit the big time. Which when you consider just how good their music was, is nothing short of a travesty. Fans of Wishbone Ash will lap up The Journey and wonder at what could have been for an undiscovered band that deserved so much more.

Sea Of Tranquility (October 2016)

With such a keen focus on progressive rock bands from the 1970s in the twenty-first century, this one ought to be an instant obscure favorite among music fans…Incredibly, the album has remained unavailable and stored away in the vaults until now. This is definitely one of those glimpses into a band that could’ve been huge…if all the pieces had fallen together like they should have. Sadly, the group threw in the towel not long after they recorded this album. But now (once again, thanks to the fine folks at Great Britain’s Angel Air label) the tracks can finally be heard by everyone. A true lost progressive gem. Fans and critics will love cuts like “The Journey,” “World In A Mountain,” “Don’t Be A Fool,” and “The Journey’s End.” Includes two bonus tracks: “Tolly Cobbold” and “Hoe Down” (recorded live).

]]>http://www.angelair.co.uk/?feed=rss2&p=45760MIKE HURST Producers Archives Volume 4 1966-1980http://www.angelair.co.uk/?p=4573
http://www.angelair.co.uk/?p=4573#commentsTue, 04 Oct 2016 15:28:24 +0000adminhttp://www.angelair.co.uk/?p=4573On the album you get twenty-two short tracks with a brief synopsis on each one by Hurst. I like the fact he is brutally honest in his descriptions even to the point of not liking some of the tunes. The … Continue reading →

On the album you get twenty-two short tracks with a brief synopsis on each one by Hurst. I like the fact he is brutally honest in his descriptions even to the point of not liking some of the tunes. The disc opens with two tracks by the band Fancy, a version of “Wild Thing” and “Touch Me”. Both tunes have sultry female lead vocals that add a certain sexual element and I can see why teenage boys back in the day probably dug these tunes. The next two tracks by the Fingertips, “You Put The Magic In Me” and “Anyone You Want Me To Be” are breezy pop tunes with a hint of disco…New World’s “Somethings Wrong” is in the style of say America or James Taylor and are pleasant enough as are the two Billy Fury tunes “Old Sweet Roll” and “Paradise Alley”. One of the best tunes is the irresistible pop of “Face To Face” by Sprinkler. Other good tracks include the psychedelic rock circa 1968 of “Pink Dawn” by New Zealand’s The Human Instinct and The Beatles-like “Top Girl” by The Cymbaline.

…if you dig ’60s and ’70s pop music Producers Archives should be worth checking out. Released on Angel Air Records.

Sea Of Tranquility (January 2017)

Seven years down the line from its predecessor, this disc could have been a barrel-scraping effort if it wasn’t so consistent quality-wise, despite the mostly non-familiar names on display. Focused for the most part on MOR, now the standout tracks are those that Mike Hurst had a hand in writing of, while covers such as Billy Fury’s barrelhouse take on “(Hi-De-Ho) That Old Sweet Roll” or an attempt to glamorize “Wild Thing” by FANCY firmly remain in the sweet early ’70s pocket. FINGERTIPS’ cheerfully delicate “Anyone You Want Me To Be” may be a prime example of the period’s light side, but the song’s title is also a possible motto for the producer’s method of bringing out the best in artists he worked with, and the same goes for his own projects, as suggested by 1969′s “Wednesday’s Child” – credited to MIKE HURST ORCHESTRA – which, drenched in strings, had emerged like a space-era answer to Strauss’ waltzes…

DMME.net (November 2016)

Billy Fury’s 1970 takes on two City-era Carole King songs, ‘Old Sweet Roll’ and ‘Paradise Alley’, are pleasant enough… Kiwi psych-poppers Human Instincts’ ‘Pink Dawn’ still sounds as tough and assured as the first time most will have heard it on Rubble Volume 12, 20 years ago…

Shindig Magazine (November 2016)

Mike Hurst has over the decades produced a massive amount of music. Mike was originally a member of The Springfields…and they were the first British vocal group to have a top 20 single in the USA, with ‘Silver Threads And Golden Needles’…Mike then turned to producing and initially worked with Andrew Loog Oldham and Micky Most. He then went on to produce The Wizard for Marc Bolan and Cat Stevens’ ‘Matthew & Son’ and ‘I’m Gonna Get Me A Gun’…his production work included ‘The First Cut Is The Deepest’ by P.P. Arnold, ‘The Mighty Quinn’ by Manfred Mann and ‘Curly’ by my old band, The Move.

Bev Bevan, Sunday Mercury (November 2016)

The Briton Mike Hurst has been an important person in the music industry for more than 40 years. He was originally part of the group The Springfields, with Tom and Dusty, and they were the first British group who had a single in the top 20 with “Silver Threads”. At the end of 1963, the group broke up, and Mike started playing for producer Andrew Loog Oldham and Mickie Most, and in 1965 he produced ‘The Wizard’ by the young Marc Bolan. He formed his own company, discovered Cat Stevens and produced his first five singles, including ‘Matthew And Son’ and ‘I’m Gonna Get Me A Gun’. Later, he would take care of PP Arnold’s ‘The First Cut Is The Deepest’, The Move’s ‘Curly’, Manfred Mann’s ‘Mighty Quinn’, as well as Spencer Davis Group, New World, Hot Sounds and Alan Bown Set. During the following decade he founded, Showaddywaddy and produced a string of hits such as ‘Under The Moon Of Love’, ‘Three Steps To Heaven’ and ‘When’. At the end of the ’70s he signed Shakin’ Stevens and produced his debut album ‘Hot Dog’. The fourth producers archives volume features tracks from the period 1966 to 1980.

Keys and Chords (October 2016 – Translated)

This fourth collection contains some well-known artists such as The Bachelors, Billy Fury and
Russ Abbot. There is also the presenter of TV’s ‘Lift Off’ Ayshea Brough and Aussie ‘folkies’ New World. Sprinkler was Dennis Waterman’s backing band, they went on to back Bucks Fizz and leader Alan Coates was a member of The Hollies for many years. Some fine recordings here too: ‘Save The Last Dance For Me’ comes courtesy of The Bachelors and the Jerome Kern/Dorothy Fields song ‘I Won’t Dance’ is well sung by John Henry. The Troggs’ ‘Wild Thing’ gets a seventies make-over by Fancy, whose lead singer was a Penthouse Pet! Add to this a couple of Carole King songs and you can’t go wrong.

Amplified Magazine (October 2016)

Here we open with a monster American hit single, Fancy’s 1973 soft-porn reworking of the Trogg’s “Wild Thing”, still riding the squelchiest, filthiest bass line ever to get past the Thought Police, and its “Touch Me” follow-up, too. New World resurface with a James Taylor b-side; and fifties rocker Billy Fury, making a comeback in 1970.

There’s another late-in-the-day revival…the Bachelors from 1977 (“they were…on their last legs when we made this,” Hurst’s refreshingly honest liner notes admit), and also a handful of cuts by bands which he acknowledges he simply doesn’t remember. But we also hear Human Instinct, a New Zealand psych band that you need to hear; and the Cymbaline, who Hurst describes as a Beach Boys style band from England’s industrial north east.

And more and more and more, twenty-two tracks in all, that also see Hurst at the helm for singles by TV comedians (Russ Abbot’s rather spiffy “The Space Invaders Meet The Purple People Eater”) and presenters (Ayshea Brough’s “Moonbeam”); a youthful Gary Barnacle and even his own pop orchestra. Add this disc to the other three volumes and you’re on the way to a lesson in British pop history that nobody else could tell.

Goldmine Magazine (October 2016)

Hurst must have been great to work with, because all of these artists sound like they’re having the best time playing in the studio. Hurst’s involvement in music has touched millions upon millions of listeners and yet his name probably doesn’t ring a bell with most…Volume 4 of the Producers Archives focuses on the period from 1966 to 1980. We never heard most of these tracks so this serves as an introduction to some wonderfully entertaining music. Groups in this collection include Fancy, Fingertips, Billy Fury, Mike Hurst Orchestra, Hit & Run, The Speedos, The Bachelors, John Henry, and Russ Abbot. We’ve rarely heard any various artists compilation as thoroughly entertaining as this one. Highly recommended. TOP PICK.

]]>http://www.angelair.co.uk/?feed=rss2&p=45730RENAISSANCE Live Fillmore West 1970http://www.angelair.co.uk/?p=4546
http://www.angelair.co.uk/?p=4546#commentsTue, 30 Aug 2016 21:16:46 +0000adminhttp://www.angelair.co.uk/?p=4546“Bullet” starts out almost like a straight up classical piece, before the band burst in with some psychedelic hard rock for what turns out to be the most rousing number in the set, showing that Relf & McCarty hadn’t forgotten … Continue reading →

“Bullet” starts out almost like a straight up classical piece, before the band burst in with some psychedelic hard rock for what turns out to be the most rousing number in the set, showing that Relf & McCarty hadn’t forgotten their blues and rock roots…

All in all, this is an intriguing release, containing some rare material from the very first line-up of Renaissance, not long before the band would be completely revamped with all new members and taking the elements begun here to the next level.

Sea Of Tranquility (February 2017)

Of documentary as well as recreational interest are additional numbers that embrace ‘Try Believing’ (reminiscent faintly of Steams ‘Na Na Hey Hey Kiss Him Goodbye’) – a McCarty-Relf collaboration from the Yardbirds-Renaissance interregnum, and three demos from the period between the group’s return to England (and subsequent disbandment) and the 1975 reformation (as Illusion) of the surviving personnel of this original, and as far as I’m concerned, finest edition of Renaissance.

R2 Magazine (November 2016)

…this CD catches their performance live on stage that night, 46 years ago. The 4 tracks that they performed were ‘Innocence’, ‘Wanderer’, ‘No Name Raga’, and ‘Bullet’. Also included as bonus tracks are original demos and one previously unreleased song ‘Statues’, which was recorded in London on their return from that American trip.

Bev Bevan, Sunday Mercury (November 2016)

This disc showcases the talents or the early short-lived Renaissance line-up – the band formed by ex-Yardbirds Keith Relf and Jim McCarty. There’s a gentle, trippy, spiritual vibe to all of this, far removed from the heavy blues rock vibe of The Yardbirds. It’s an earnest kind of prog-rock – very much of its time, but none the worse for that. It’s easy to imagine the switched-on Fillmore audience nodding appreciatively to the gently shifting grooves and intertwining melody lines of guitar, bass and keyboards.

Shindig Magazine (October 2016)

‘Try Believing’ by Relf-McCarty presents a more cheerful, rocky face, with rhythmic guitar teeming with percussion as well as bass – Louis Cennamo thank you! Although this piece may have benefitted from more elaborate arrangements, it is eminently friendly and concludes this pleasantly unexpected album, including its share of nuggets. Fans of original Renaissance, you know what you have to do! 4 stars

Highlands Magazine (September 2016 – translated)

The demos are listed as ‘bonus tracks’, but with better sound quality these quickly become the selling point of the set. Less than twelve minutes between them, these tracks could have easily worked as B-sides, possibly A-sides, but unfortunately were lost in the annals of time until the turn of the millennium. Statues is a marvellous ditty with a subtle 7/8 time chorus, showing tendencies of progressive rock. I love the track I’d Love to Love You Till Tomorrow simply for its name. No further questions. Another favourite, Please Be Home, highlights Jane Relf’s beautiful vocals and is the only place on the album where her voice shines. All in all, it’s a peculiar set of tracks, but one that helps the listener further understand the first incarnation of the legendary band.

The Progressive Aspect (September 2016)

The sound here is basic, yet that somehow introduces a lo-fi charm, nearer to Relf and McCarty’s origins, keeping the five piece band away from the pomp-rock that later line-ups (devoid of original members) turned into a decent living…As a bonus there’s an unreleased studio track ‘Statues’, a workout for Relf’s vocalist sister Jane, and demos of several other unheard numbers.

Record Collector (September 2016)

…studio run through “Statues” – recorded soon after this San Francisco performance and added here as a bonus – starts to show how easily, and elegantly, the band could bend to pop idiom, one that brother and sister Relf would acoustically explore at home with the solemnly soulful “I’d Love To Love You Till Tomorrow” in 1976, shortly before Keith’s untimely death. Without him, “Please Be Home” which didn’t make the cut for the first album by ILLUSION, a new incarnation of the original RENAISSANCE, turned out rather chamber-like, if arresting, but as a reminder of the ensemble’s beginning, “Try Believing” – that gave the two Yardbirds an initial opportunity to test their new formula back in 1968, as TOGETHER – is a fittingly festive finale to the testament of the unique group’s continuity. An essential listen. 5 stars

DMME.net (September 2016)

Though this original version of the band was short-lived, you can hear the seeds of the classic Renaissance sound being born on this live recording, even though the band was completely overhauled just a short year later. Kicking off the set with “Innocence”, Relf’s effects laden guitar textures and Hawken’s majestic piano blend classical leanings with psychedelia, while the complex arrangement of “Wanderer” goes straight into the type of prog that the band would shortly become famous for, as the sinewy bass lines bounce around intricate passages of Hawken’s vast array of keyboards until Relf’s dreamy vocals come into play. The 14+ minute “No Name Raga” is more of a jam, again with plenty of psychedelic, folk, and prog rock elements fighting for supremacy, complete with some tasty guitar playing courtesy of Keith and layers of trippy keyboards from Hawken. “Bullet” starts out almost like a straight up classical piece, before the band burst in with some psychedelic hard rock for what turns out to be the most rousing number in the set, showing that Relf & McCarty hadn’t forgotten their blues and rock roots.

To round out the CD, Angel Air have included some bonus material, including the previously unreleased song “Statues” from 1970, an upbeat pop tune with a catchy hook and some nice piano, plus the demo cuts “I’d Love to Love You Tomorrow”, “Please Be Home”, and “Try Believing”…All in all, this is an intriguing release, containing some rare material from the very first line-up of Renaissance, not long before the band would be completely revamped with all new members and taking the elements begun here to the next level.

Sea Of Tranquility (September 2016)

This CD catches their performance live on stage that night, 46 years ago. The 4 tracks that they performed were ‘Innocence’, ‘Wanderer’, ‘No Name Raga’ and ‘Bullet’. Also included as bonus tracks are original demos and one previously unreleased song ‘Statues’, which was recorded in London on their return from that American trip.

Bev Bevan, Sunday Mercury (September 2016)

This band was formed by Keith Relf and drummer Jim McCarty in the aftermath of The Yardbirds’ sad demise, and Angel Air’s new offering was recorded in fairly murky sound quality at San Francisco’s Fillmore West in March 1970 during their one and only American tour, fleshed out a little with the inclusion of a few demo tracks, outtakes and hitherto unreleased 1976 track from vocalist Jane Relf entitled ‘Statues’.

Kevin Bryan, Regional Newspapers (August 2016)

Renaissance was a group that always fantasized and improvised, so the music lovers are best catered for. With 35 minutes of music, we are treated to an unreleased song (‘Statues’, 1970), a studio demo (‘Please Be Home ‘, 1976) and two home recordings where Keith Relf plays the lead role (‘Try Believing ‘, 1968 & ‘I’d Love To Love You Till Tomorrow’, 1976). As on his official solo single, you can hear a Keith Relf here that has nothing to do with The Yardbirds, nor Renaissance. ‘I’d Love To Love’ is a folk tune, whilst ‘Try Believing’ sounds very commercial. Renaissance are for music fans and Keith Relf enthusiasts.

Keys and Chords (August 2016)

…this record captures the band in full progressive rock mode, recorded as they supported the Butterfield Blues Band during a US tour. Although there are only four live tracks, these weigh in at suitably hefty lengths allowing the band to indulge in a mixture of extended keyboard and guitar workouts that place them somewhere between the psychedelia of Jefferson Airplane and the more progressive rock noodlings of Soft Machine. The Airplane feel is further enhanced by Jane Relf’s vocal, a slightly less self-assured Grace Slick. The album comes with the addition of demos and the previously unreleased light ’70s pop rock offering Statues.

]]>http://www.angelair.co.uk/?feed=rss2&p=45460GREENSLADE The Birthday Album – Live Switzerland 1974http://www.angelair.co.uk/?p=4538
http://www.angelair.co.uk/?p=4538#commentsTue, 30 Aug 2016 21:05:51 +0000adminhttp://www.angelair.co.uk/?p=4538While he doesn’t quite get the recognition he has always deserved, Greenslade for decades has been a hell of a player, right up there with Emerson, Wakeman, Lord, Hensley, and Banks, and he’s on target along with Lawson throughout this … Continue reading →

While he doesn’t quite get the recognition he has always deserved, Greenslade for decades has been a hell of a player, right up there with Emerson, Wakeman, Lord, Hensley, and Banks, and he’s on target along with Lawson throughout this thrilling live set. Hammond organ, Moog, Mellotron, electric piano, it’s all here and just dripping with early ’70s prog splendor. “Pilgrim’s Progress” is just amazing, a rousing number featuring rampaging Hammond and wild Moog, with the rhythms just supercharged underneath, while numbers such as “Sunkissed You’re Not” and “Bedside Manners are Extra” show just how tight this band were at delivering complex, symphonic prog rock.

The atmospheric “Drowning Man” has a certain ELP feel to it, featuring some killer drumming courtesy of McCulloch, and “Time to Dream” ups the energy with intricate rhythms, passionate vocals, and wild keyboard explorations. The 17-minute “Sundance” is a keyboard lovers dream, as the duo pull out all the stops for a spirited jam, and McCulloch gets to solo with reckless abandon on the extended percussive romp “Drum Folk”. Toss in the hard rocking “Feathered Friends” and you have an energetic, virtuoso performance from fiery prog act who sadly, never really made it to stardom like some of their contemporaries.

…this is a killer show, and one that fans of vintage ’70s prog rock will want to seek out. 4/5 Stars.

Sea Of Tranquility (August 2017)

With several of the pieces extending outward into multi-sectioned suites of such proportions that would give ELP or Yes a run for their money, they command a bristling with intricacy and hard rock edge that occasionally recalls the baroque complexities of Gentle Giant, driven by the Wetton-esque crunch of Tony Reeves’ bass. Dave Lawson’s synths provide textural contrast to Dave Greenslade’s blues-rooted soloing…These spirited and road-tested renditions of their studio counterparts pack a considerable punch.

Prog Magazine (December 2016)

…Lawson and Greenslade really get to show their chops on the 17-minute long free-jamming ‘Sundance’ where they wring all sorts of wonderful sounds from their keyboards, while the 14-minute ‘Drum Folk’ allows McCulloch to knock seven bells out of his cavernous-sounding kit. Now if only I could grow my hair long again…

Pipeline Magazine (December 2016)

“Pilgrim’s Progress” may be the most illustrious example of the ensemble’s instrumental intricacy and their ability to wrap attack – sharpened to perfection in “Time To Dream” – in elegance, but “Drowning Man” adds a playful groove to it, whereas two organs propel “Feathered Friends” towards a “Gimme Some Lovin’” kind of cool before stopping at the gothic prospect of eco disaster. For original GREENSLADE, extinction was around the corner, too, and the telepathy captured here would soon be gone, but while it lasted it felt magical. *****

DMME.net (November 2016)

Two albums are played exclusively: ‘Greenslade’ & ‘Bedside Manners Are Extra’, the live versions being slightly different from the studio albums. Dave Lawson (Alan Brown Set, Episode Six, Samurai) is on piano, keyboards, clavinet and ARP synthesizer. Tony Reeves is on bass (ex-John Mayall and Colosseum. On the drums Andy McCulloch (ex-King Crimson). One notices the absence of guitar, the music of Greenslade being entirely dedicated to keyboards – beautifully used and particularly diversified. The sharing between the two aforementioned albums is fairly equal…the sound of the set is very listenable too, in accordance with the quality reissues of Angel Air. A live release recommend to lovers of keyboard-based music.

Highlands Magazine – Translated (November 2016)

This is the last known live recording of the original line-up of progressive rock band Greenslade, recorded in Prilly, Switzerland on January 18th, 1974 – on band leader Dave Greenslade’s 31st birthday…songs performed that evening were from Greenslade’s first 2 studio albums, including ‘An English Western’, ‘Sun Kissed Your Not’, ‘Bedside Manners Are Extra’, ‘Drowning Man’, and ‘Feathered Friends’.

Bev Bevan, Sunday Mercury (November 2016)

…the instrumentals are the real strength of this album. Special mention must go to the rather Camel-like Swings and Roundabouts, the first part of a ten minute medley with Time Takes My Time where we get to hear Greenslade singing for the first time. However, the last duo of songs really bring the listener back into familiar Greenslade territory. Country Dance flows beautifully between fast jazz-based sections and murkier slow parts…The band are really on top form as well, never seeming to miss a note…I’d say fans of the band will definitely get a kick out of hearing this band in action at the best point in their history.

The Progressive Aspect (September 2016)

This release has historical significance for Greenslade fans as this is the last known live recording of the original line-up. Recorded in Philly, Switzerland on January 18, 1974 (Dave’s birthday), the band was then comprised of Dave Greenslade, Dave Lawson, Tony Reeves, and Andrew McCulloch. The concert presents the band playing material from their first two albums. You can tell from these tracks how tight these guys had gotten from performing this material live. The sound quality is good, but you can definitely tell that this was a concert recorded in the mid-1970s. We’ve always felt that Greenslade was one of the best progressive bands from the seventies and yet, for some reason, they’ve never received the same amount of recognition that many other bands from that time period have. Nine cool tracks here including “An English Western,” “Bedside Manners Are Extra,” “Time To Dream,” and “Feathered Friends.”

babysue (September 2016)

This distinctly low fidelity offering captures the stylish prog rockers’ performance at Prilly in Switzerland on keyboard ace Dave Greenslade’s 31st birthday, in what was destined to be the last known live recording made by their original line-up.

Kevin Bryan, Regional Newspapers (August 2016)

Greenslade was a band you could always listen to with pleasure, both on record and live. In 1974 they were on the stage at the renowned Jazz Bilzen Festival and gave an impressive show. With this release, you get to relive it!

Keys and Chords (August 2016)

The 72-minute excursion results from a recording that was only recently discovered by Reeves. The show was taped – on Dave Greenslade’s 31st birthday – in Prilly, Switzerland, during a European tour by the band. The big Greenslade following will be delighted to hear a selection of some of the songs and instrumentals they love resplendent in a concert ambience.

]]>http://www.angelair.co.uk/?feed=rss2&p=45380GO WEST Live Robin 2 – 2003http://www.angelair.co.uk/?p=4506
http://www.angelair.co.uk/?p=4506#commentsThu, 28 Jul 2016 13:48:11 +0000adminhttp://www.angelair.co.uk/?p=4506Still, while leading beyond the obvious hits such as “The King Of Wishful Thinking” which many remember from the “Pretty Woman” movie, this concert reveals a degree of homogeneity to the GO WEST oeuvre, even though the funky “SOS” and … Continue reading →

Still, while leading beyond the obvious hits such as “The King Of Wishful Thinking” which many remember from the “Pretty Woman” movie, this concert reveals a degree of homogeneity to the GO WEST oeuvre, even though the funky “SOS” and “Innocence” rock the house, and “I Want To Hear It” is quite an athletic exercise, Cox’s grip on a microphone stand as firm as it is on the listeners in front of him. The band wring every sinew from their instruments and Drummie switches between keyboard and guitar to add texture to it all, yet, if not for a jazz piano “Missing Persons” could have test a non-initiated patience, unlike “The Sun And The Moon” that’s evoking the spirit of Otis Redding, and “What You Won’t Do For Love” that’s part of a “guilty pleasure” ministry. And there’s nothing wrong with it, as the cover of “Tracks Of My Tears” suggests: GO WEST still are the life of the party.

DMME.net (September 2016)

This lengthy concert features seventeen tracks and presents the duo and their backing band playing for over seventy-eight minutes. This double disc set contains the audio from the concert as well as a DVD for those wanting the complete experience. Tracks that will definitely take fans back include “Don’t Look Down,” “Goodbye Girl,” “Innocence,” and “The King of Wishful Thinking.”

babysue (August 2016)

Playing live was and still is the core to this band’s continuing existence and this release, on a combined CD and DVD package, captures the band playing live in a sold out show at the Robin 2 in Bilston during 2003. The set list that night included their hits ‘Don’t Look Down’, ‘Faithful’, ‘What You Won’t Do For Love’, ‘Goodbye Girl’, ‘Call Me’, ‘We Close Are Eyes’, ‘Tracks Of My Tears’ and ‘The King Of Wishful Thinking’.

Bev Bevan, Sunday Mercury (July 2016)

Live Robin 2-2003, a CD/DVD set, captures the band in a small, intimate setting during a reunion show. Unlike many bands of the era, it’s obvious that Go West was a real band; Cox singing with a passion and a strength that wasn’t enhanced by computer and studio trickery. This set is heavily Go West specific; eight of the nine songs are performed here, with single “Call Me” and album cut “Innocence” being highlights of the set. Though Dancing is largely ignored, their take of “True Colors” is excellent, and worthy of inclusion. “Faithful,” the band’s final major single, shows that by the end of their run, they had escaped the new wave pop ghetto they were regulated to, and were making fine soul music…

The DVD portion of this set (previously released in 2004 as King Of Wishful Thinking) offers the show in its entirety, and you can see how much fun the band is having onstage. There’s also an excellent, career-spanning interview between the Cox and Drummie, and it’s obvious of the love and the bond the two of them have as they regale with humour and honesty about the ups and downs of their career. It’s an enlightening coda to an excellent reunion show, and makes this live disc a must-have for the Go West fan, as well as a nice introduction for the curious.

]]>http://www.angelair.co.uk/?feed=rss2&p=44840THE ORIGINAL CAST & FRIENDS The Ones That Got Awayhttp://www.angelair.co.uk/?p=4474
http://www.angelair.co.uk/?p=4474#commentsThu, 30 Jun 2016 13:45:33 +0000adminhttp://www.angelair.co.uk/?p=4474Tony Burrows, David Martin and Sue & Sunny formed The Original Cast in the mid-70s, all were well-known in their own right…There are 19 tracks from the ’70s on this album plus a bonus track, recorded this year, featuring Ron … Continue reading →

Tony Burrows, David Martin and Sue & Sunny formed The Original Cast in the mid-70s, all were well-known in their own right…There are 19 tracks from the ’70s on this album plus a bonus track, recorded this year, featuring Ron Dante, who was lead singer on The Archies’ number one hit ‘Sugar Sugar’.

Bev Bevan, Sunday Mercury (November 2016)

…the hour-long collection, featuring some lesser known recordings that heavily enlist a ‘revolving’ team of stalwart recording studio denizens (also including backing-singer sisters Sue & Sunny), is largely made up of catchy sunshine pop – not least the late-70′s original ‘Summertime’ by ‘the West End Boys’, which is very reminiscent of the aforementioned ‘Beach Baby’.

The Beat (August 2016)

For those of you whose collections proudly boast entries by Edison Lighthouse, White Plains, Brotherhood Of Man and Butterscotch, there are just enough fresh thrills here to encourage you to get out and grab the original 45s of Burrows’ solo outings like the funky, driving ‘Have You Had A Little Happiness Lately’…

Shindig Magazine (August 2016)

…this album was created to shed light on the music created by Tony, David, Sue, and Sunny. If you love the light and sunny 1970′s pop sound that can be found on the Rhino Records Have A Nice Day various artists collection, The Ones That Got Away will be right up your alley. These nineteen tracks are sure to take you back to another time and place when music was simpler and folks weren’t quite so sarcastic and jaded about everything. To bring things full circle, the album closes with a new track recorded in 2016 that includes vocals by Ron Dante (of The Archies). A fascinating journey into the music of four exceedingly talented artists.

babysue (August 2016)

…Just as sincere, Sue’s delicate “Solo” and soulful “All So Different Now” from Sunny are prime examples of understated balladry, while “Ain’t That Tellin’ You People” finds the sisters in boisterous mood. Burrows managed to combine the two aspects in “Better Fly Butterfly” and rock it with a certain defiance, and THE NAIMZ’ “Golden Yearz” from 2016 may serve as a bottom line to this dewy-eyed compilation. Sometimes it’s so sweetly ’70s that there’s a risk of toothache; sometimes it’s conventionally adventurous; altogether, it’s a good reminded of the musical-minded landscape that’s long gone. ***

DMME.net (August 2016)

I can tell you that a lot of the tracks on this new 20 track CD are rare and hard to find and if you enjoy pure pop put together impeccably there is a lot to enjoy, its perfect summer time sunny day listening. And the final track ‘Golden Yearz’ is a little stroke of genius, recorded this year and featuring Tony B, David M and the USA’s ‘equivalent’ of Tony Burrows in the shape of Ron Dante the ‘voice’ behind The Archies ‘Sugar Sugar’, The Cufflinks ‘Tracy’, ‘When Julie Comes Around’ and a host of others. An inspired idea, a hell of a catchy song, and proof (if it was needed) that these guys have lost none of their vocal prowess 4 decades on, love it!

ninebattles.com (August 2016)

Think seventies, think of the timeless memorable sounds of White Plains, Guys And Dolls, Edison Lighthouse, and you know what musical direction this goes in. Tony Burrows has long been noted for decades as the best pop singer, and there are great songs here. “Love Matters” from the Original Cast is a nice love song while Tony Burrows’ “Better Fly Butterfly” is a more solid pop track. Sue & Sunny provide strong vocals which can be heard clearly on “Ain’t That Telling You People” which appeared in 1976. “Oh My Jo” by Tony Burrows takes me back to nice memories of the golden early seventies.

]]>http://www.angelair.co.uk/?feed=rss2&p=44740JERUSALEM Cooler Than Antarcticahttp://www.angelair.co.uk/?p=4471
http://www.angelair.co.uk/?p=4471#commentsWed, 29 Jun 2016 18:29:01 +0000adminhttp://www.angelair.co.uk/?p=4471…’Northern Lights’ has a breakneck rhythm! We can hear the violin of Rachel Hall at its best, with the rumbling bass of Ashley Cutler and sparkling keyboards by Geoff Downes…the album finishes in style with ‘Cry’, starting with a sweet, … Continue reading →

…’Northern Lights’ has a breakneck rhythm! We can hear the violin of Rachel Hall at its best, with the rumbling bass of Ashley Cutler and sparkling keyboards by Geoff Downes…the album finishes in style with ‘Cry’, starting with a sweet, soaring violin by Rachel. The acceleration continues in a muscular vein, with violin soon resuming its duties with a great solo…This album is a must-have, full of sap, it’s a progressive heavy monument, a powder keg with which you are charged to light the fuse. 5 Stars

Highlands Magazine (September 2016 – translated)

If 2014′s “Black Horses” saw the ensemble trying to locate light moments in a bleak environment, its follow-up nails current situation on the head, what with Lynden Williams’ adoption of declarative delivery. Such stance is used to great effect in opener “Snake” whose riffs vigorously bite into philosophical and political comments, but the key to the piece’s proud position would be the “when you were younger” line, the past being a recurring theme here.

In this context, the glorious “Simple Man” – written around the time of the group’s 1972 debut and restored for eventual recording now – has an air of nostalgia about it, while “Drums, Bass And Guitar” serves up a romp through rock ‘n’ roll era, listing each decade’s attributes, on a harmonica-enhanced slab of rhythm-and-blues.

…And then there’s “Cry” to take it all to “forever after” via folk dance and heroic moves, which may quite possibly be the band’s best epic. If this is an assessment of the route they are taking now, that’s the way to go. ***2/3

DMME.net (August 2016)

“Northern Lights” shows the band at their best, the urgent, furtive, rhythm carrying you along at a magnificent lick that is as enigmatic as it is engaging. Vocally Williams is skilled and honed, and yet for some his delivery might be just a little too polite for the hard hitting fare his band hope to recount. However with accordion, blues harp and violin all making an appearance, the eclecticism is assured…In a way it is hard to ignore the underlying feeling of frivolity that somehow permeates from much on this album; from its quirky cover to its individualistic word play…If you’re looking for an album that reverberates with a pop pulse, pushes with a prog beat and then weighs in with some unusual lyrics and characterful vocals, this may be for you…

Sea Of Tranquility (July 2016)

Categorization of this release is difficult. Everything is normal on the one hand, and on the other influences are spread wide. Rock, melodic rock, pop, power pop, blues are completely natural aspects making for a diverse record. The fantastic “Steaming Hot” with a lot of organ sound and a nice guitar solo cries out for a live version, and also the power rocker “All My Doors Are Open” would be well suited to a live performance. Basically you would have to discuss every single song in detail from this album to do it justice.

There is refined harmonica and crisp blues on “Drums, Bass and Guitar”, and the rocker “Northern Nights” has intense melodies, then there’s the power pop of “Simple Simon” with its haunting refrain. There are sill calm tunes such as “The Book Of You”, to contrast with the power. An album without failure, which lacks only the occasional hit.

Music An Sich (Translated – June 2016)

In terms of proginess, what Jerusalem serve up, resides in the more rock with a slice of prog side of life, than the other way round, all of the songs reliant on a strong sense of melody and structure to get their message across. Lyrically however things are a little more quirk-driven, a sideways glance at the modern world being where everything stems from. This approach works best on the bullish “Steaming Hot”, the pulsating beat driving a comment on the wish to be young and beautiful forever…”Northern Lights” shows the band at their best, the urgent, furtive rhythm carrying you along at a magnificent lick that is as enigmatic as it is engaging.

Sea Of Tranquility (June 2016)

In “Northern Lights” the violin even gets a bit part, and Lynden Williams voice resounds with rich chimes. Here and there it is drawn from the blues and folk style which will sharpen your focus as it contrasts with the guitar rock. Fair is fair, Jerusalem can finally get the attention they deserve. Excellent guitar rock that will amaze, and that does not surprise me with such a good line-up.

]]>http://www.angelair.co.uk/?feed=rss2&p=44710MR BIG Bitter Streetshttp://www.angelair.co.uk/?p=4469
http://www.angelair.co.uk/?p=4469#commentsWed, 29 Jun 2016 18:24:59 +0000adminhttp://www.angelair.co.uk/?p=4469Not until the title track ‘Bitter Streets’ are we finally dealing with some guitar sounds embedded in a sublime song…’God Save Me From The Blues’ is one of the best tracks, featuring more energetic riffs, solos, staccato drums, and vocals…Two … Continue reading →

Not until the title track ‘Bitter Streets’ are we finally dealing with some guitar sounds embedded in a sublime song…’God Save Me From The Blues’ is one of the best tracks, featuring more energetic riffs, solos, staccato drums, and vocals…Two bonus tracks are included, the beautiful ‘Close My Eyes’ with a Dire Straits influence – great guitar playing too. The album’s concluded by ‘Dreamed’, with excellent keyboard work….This comeback release will please the fans, and those who enjoy well-composed pop melodies.

Highlands Magazine (September 2016 – translated)

This is pure melodic pop rock loaded with delicious melodies and strong lead vocals. The songs are lushly orchestrated and many fall into the mid-tempo ballad category. Addictive choruses and tasty but not very complex musicianship abound so if you are into melodic pop and rock music Bitter Streets will provide much enjoyment. Songs like the album opening “Come And Dance” and the pretty piano laced “Georgia” will certainly appeal to the pop rock crowd. The country tinged “My Sweet Medicine” is another tasty melodic pop rock morsel. The soaring vocal melodies are a high point throughout the album. Occasionally, the band rock out a bit as in the bluesy boogie of “God Save Me From The Blues”. Also included is a reworked version of “Romeo”, as catchy as anything on the disc.

Sea Of Tranquility (July 2016)

Best known for 1977′s top-five hit ‘Romeo’, Mr Big were probably denied continued chart success by the junk that was punk. The band loosely re-formed in 2010 to record the new album ‘Bitter Streets’ and this is technically a reissue of that album, with a couple of bonus tracks and a further updated version of ‘Romeo’. An album of pure Radio 2 pop-rock…if only they’d stop trying so hard to be trendy at that radio station and give it some airplay, it would probably break through. It’s that good.

Truck & Driver (June 2016)

The ’70s may ooze out of many a pore, yet when tunes are as arresting as “Baby Come Around” or as life-affirming as the sunny “Sandy” with its almost baroque backdrop, the drift is timeless. So Dicken may cast another dreamlike glance over his shoulder on the exquisitely textured bonus “Close My Eyes” and sail away on acoustic lull: the streets he still walks on are full of sweet light rather than bitter tears. ****1/3

DMME.net (June 2016)

The guys in Mr Big are back. But upon hearing the fresh pop sounds on Bitter Streets you’d never know they disbanded in the first place. This band originally made a big splash way back in 1977 with their hit single “Romeo.” Like so many bands, however, follow up recordings failed to reach the success of that single and they eventually threw in the towel. The band members did eventually form a new band called Broken Home, but that only lasted for a while…before they decided to re-fuel Mr Big.

Recorded in 2010, Bitter Streets finds the band returning to something quite similar to their original sound (there’s even a re-recording of “Romeo” here). Streets sounds very much like a non-stop string of potential hits. And this release also includes two bonus tracks (“Close My Eyes” and “Dreamed”). Hopefully this album will reignite the flame that began so many years ago. These guys still have a fresh inviting sound–you’d never know they’ve been around for as long as they have. A good solid release.

]]>http://www.angelair.co.uk/?feed=rss2&p=44690SNIPS La Roccahttp://www.angelair.co.uk/?p=4466
http://www.angelair.co.uk/?p=4466#commentsWed, 29 Jun 2016 18:16:29 +0000adminhttp://www.angelair.co.uk/?p=4466‘Backs Of Millions’ evokes DEVO, ‘Happy Sometimes’ resembles SPARKS. This is unmistakably the guitar of Chris Spedding that can be heard on ‘Tight Shoes’, also powered by the bass of Jackie Badger. The last track of the original album: ‘What … Continue reading →

‘Backs Of Millions’ evokes DEVO, ‘Happy Sometimes’ resembles SPARKS. This is unmistakably the guitar of Chris Spedding that can be heard on ‘Tight Shoes’, also powered by the bass of Jackie Badger. The last track of the original album: ‘What Is Pop?’, is ironic because I think Mr. Snips certainly knows what pop is! Following that, we have several unreleased tracks. The first is ‘You’re A Wonderful One’ with a tenacious swing, perfectly orchestrated with saxophone. ‘Tight Shoes’ is a single version but still delicious with lively guitar by Spedding. ‘Lolita’ revives the SPARKS sound and the last title evokes DEVO. The Bill Nelson synthesizer is judiciously used.

Highlands Magazine (September 2016 – translated)

Angel Air’s reissue spruces up the recording with a nifty remastering job along with a brace of bonus tracks, to shine a light on a ‘lost classic’ of its period. An accomplished album of slick Roxy-ish new wave pop, ‘La Rocca’ was sadly to prove Snip’s last fling as a pop performer, instead forging a successful career in soundtracks…

Vive Le Rock (September 2016)

An elegant bounce to the album’s title cut can push its clipped groove towards dub but still keep on the rockabilly side of the tracks, in the private heaven Parsons envisaged for Brian Jones. The Stone is also glorified in “Skies Of England” which has turned the anger of “Jumpin’ Jack Flash” inside out to reach for his, and Snips’, romantic essence; that’s why, perhaps, the voice in the wilderness of “Backs Of Millions” doesn’t sound revolutionary and “Happy Sometimes” taps into the same soul vein as a cover of Marvin Gaye’s “You’re A Wonderful One” in the bountiful bonus section of this CD. So although the singer is asking “What Is Pop?” at the record’s finale, the answer is obvious: it’s the edge Snips could have ridden for ages if his ego was as big as his talent. Thankfully, he’s back with those big fish now. ***1/3

DMME.net (August 2016)

A sharp-rocking album that unites early 70′s pop, new wave and 80′s synth pop in glorious fashion. Steve ‘Snips’ Parsons had sung in pre-punk supergroup Sharks (alongside Free’s Andy Frazer and guitar hero Chris Spedding) as wells as, curiously, the Baker-Gurvitz Army…Six bonus B-sides and outtakes complete an album that so deserved to crack it…

Record Collector (August 2016)

Really, this album should have been much more popular than it probably was but it’s still not too late thanks to our friends at Angel Air Records. Hopefully, this rerelease will catch some well-deserved attention. Highly recommended for fans of pop and new wave music of the late ’70s/early ’80s.

Sea Of Tranquilty (July 2016)

This album was originally released way back in 1979 but we’re only now hearing it thanks to the folks at Britain’s Angel Air label (this is the first time the album has ever been issued on CD).

Snips (whose real name is Steve Parsons) was originally in the band Sharks and also worked for a while with Ginger Baker. In 1979 he began his solo career with the release of La Rocca! Produced by Chris Spedding (who also plays guitar on the album), this disc is one entertaining spin.

What’s interesting here are the songs themselves. Although the vocals are markedly different than either, the songs on La Rocca! remind us very much of mid-career stuff from Sparks and Devo (!?). As is almost always the case with Angel Air’s reissues, this disc includes all the tracks from the original album plus six additional bonus tracks. After spinning this a few times, we can’t help but feel that it’s a shame this album didn’t produce at least one or two hits. The songs certainly have that sort of appeal. Plenty of upbeat catchy pop cuts here including “Nine O’Clock,” “Skies of England,” “Happy Sometimes,” and “What Is Pop?”

babysue (June 2016)

This interesting period piece dates form 1979 and found vocalist Steve “Snips” Parsons working in close collaboration with guitarist and producer Chris Spedding in a revival of the partnership which had proved so creatively fruitful during the pair’s stint in short-lived supergroup Sharks earlier in the decade. The bulk of this stylish set was self-penned with the notable exception of Larry Wallis’ ‘Police Car’, with Bill Nelson’s distinctive interjections on synthesiser lending added impetus to the proceedings on tracks such as ‘Happy Sometimes’, ‘Dark Outside’ and ‘La Rocca’.

Kevin Bryan, Regional Newspapers (June 2016)

A pleasantly nostalgic ‘of-its-time’ feel pervades on an LP that should perhaps have had more impact than it did, and which is now appended by six additional tracks. Nearly all the pieces are Parsons originals – and perhaps unsurprisingly he’s developed a successful later career in music for TV and film.

]]>http://www.angelair.co.uk/?feed=rss2&p=44660ROBIN GEORGE & DANGEROUS MUSIC Painful Kisshttp://www.angelair.co.uk/?p=4446
http://www.angelair.co.uk/?p=4446#commentsTue, 31 May 2016 15:03:13 +0000adminhttp://www.angelair.co.uk/?p=4446The relative highlight is “Catarina” with a hook you can get used to. “The Rubicon” is a good pop song… Musik An Sich (Translated – March 2018) …It’s not the first time for such an endeavor, what with the axeman … Continue reading →

The relative highlight is “Catarina” with a hook you can get used to. “The Rubicon” is a good pop song…

Musik An Sich (Translated – March 2018)

…It’s not the first time for such an endeavor, what with the axeman taking to the mic on DAMAGE CONTROL’s “Raw”, but the result is intimate now, rather than heroic, on the likes of “Love Power And Peace” as the composer stresses a strength of a song itself, not only of its message. The anguished honesty of his delivery zooms out from the universal to personal in the fresh-fashioned title track – all sparse melange of sharp riffs, angular strum and Eastern weave – and, following a reference to angels, in an updated look at “Heaven” which is an epitome of an almost orchestral affection here. The vibrant reprise of “Oxygen” may seem to symbolize the insularity of Robin’s today’s approach, and not for nothing George, with a blues edge to most of the numbers, is boiling down the decisiveness of “The Rubicon” to his and Pete Haycock’s rapport.

Still, there’s a crisp funk thrown onto “Pride” after the guitarist has pushed Ruby Turner’s wail to the back, while the infectious chorus and Mel Collins’ sax make the heavy, if sensual, “Catarina” stand out, but “World” offers dry crunch that’s gradually wetted with a slider to soften the writer’s acidic critique of our current ways. That’s why here’s a lot of love in these grooves: because it is all we need, as painful as it may be. ****

DMME.net (July 2016)

Over the years Britain’s Robin George has worked with an amazing array of great classic artists including Robert Plant, Glenn Hughes, Phil Lynott, David Byron, Roy Wood (!), John Wetton, and Pete Way. But he’s also recorded an impressive number of solo albums that have caught the attention of many.

On Painful Kiss , George presents his own recordings of songs that were recorded previously or made famous by other musicians. In addition, the album presents three new tracks that were written specifically for this release. Our guess is that these tracks will become the definitive recordings of many of these songs. These cuts have a nice thick fat produced sound with plenty of overdubs that add additional zest. And of course those remarkable guitars remain the trademark of Robin’s sound. Twelve nifty zippy cuts here including “Painful Kiss,” “Lonesome Daze,” “Pride,” “Love, Power and Peace” and “Oxygen.”

babysue (June 2016)

‘The American Way’ is where Charlie Morgan hits hard, despite few guitar interventions from Robin. It is However, my favourite track, surrounded by a bass groove. Another of my favourites is the bluesy ‘Bluesong’ where Robin demonstrates how successful it can be when he does not try to please at all costs, because when his guitar awakens, the music takes off…

Highlands Magazine (Translated – June 2016)

Openers ‘Painful Kiss’ and ‘Lonesome Daze’ – both still poppy with a metal edge – kick-start things nicely, and nod stylistically back to 1985 and George’s first solo album, albeit with a twenty-first century twist. ‘The American Way’ is a snappy little pup originally recorded with Glenn Hughes (this version unfortunately still lurks in the vaults, officially at least) and the coupling of ‘Catarina’, complete with sax solo from the legendary Mel Collins, and ‘The Rubicon’ is pretty much worth the price of the album alone: if your toes aren’t tapping by this point in the album you’d best check you still have a pulse.

John Tucker (May 2016)

If you’ve never encountered the work of Robin George before, I’ve no hesitation in suggesting that Painful Kiss is a wonderful place to start. For those more acquainted with his impressive output, the chance to hear some old favourites alongside some newer numbers given the full Robin George treatment, will prove simply too good to pass up.

Opening with the catchy up-tempo track called ’7′ there’s nice keyboard-melodies and synth-washes (Lloyd George), supporting DC’s lead vocal. ‘She Waits’ is a great head-nodding rocker featuring some splendid guitar work (Robin Harrison) and is cleverly arranged with some Purson-like psychedelic moments and should be a live favourite.

‘Forth Of Fife’ has lovely synth swathes and another highlight is ‘The Gathering’ with up-front keys, plus great bass and strong guitar work with a lovely Marillion-tinged instrumental mid-section…777 delivers well-balanced enjoyable end-to-end listens.

Classic Rock Society (August 2016)

The band has almost completely abandoned the real folky elements in their music; no tin whistles, no mandolin, no traditional folk melodies. Instead you get catchy synth themes and poppy vocal melodies as on the opener 7, a real waltz on She Waits, and metal riffing in The Gathering. They produce very poppy choruses (Nothing to Believe) and re-work the leading theme of Forth of Fife in the next song (The Gathering) without gluing the songs together. There the strength of the vocal lines becomes very apparent. Clifford manages to sing the long lyric lines without any obvious strain, and makes these songs fluid and melodious….

Bonus track October and April is a cover of The Rasmus featuring Annette Olzon song, jointly sung by Clifford and his stunning musical, dancing and acting daughter Soheila. It is a rather cheesy and folky ballad, with acoustic guitar and spinet-like keys sounds that reminded me of the Dan Fogelberg/Emmylou Harris duet Only The Heart May Know on the Innocent Age album. Their voices blend together very well and the sober-but-effective arrangement makes this potential lamentable song a really nice one to listen to. I highly prefer it over the original. 8/10

Dutch Progressive Rock Page (July 2016)

Folk approaches have not entirely disappeared, but are now less frequent. This is perhaps most clear on the track “She Waits”, which is really rocking – a beautiful piece. Among the highlights include the great opener “7″ and the pop/prog “Reaching out” with its anthemic vocals and detailed synth solos. The soft synth number “Paradise Folly” is an excellent album closer.

Musik An Sich (Translated – June 2016)

…’Dragonfly’ includes an introduction with acoustic guitar but the tone in general is again neo-prog. ‘Paradise Folly’ is like JETHRO TULL: a beautiful ballad on acoustic guitar, with romantic keyboards, a beautiful voice, loads of emotion and a Gilmouresque solo. ‘October and April’ is an unplugged bonus track with the addition of a female voice. I do not know if all this will please the old fans, but they will gain more fans, because RED JASPER took a serious facelift with this album.

Highlands Magazine (Translated – June 2016)

777 is vintage prog-rock – it should have been recorded in 1974. Lloyd George’s keyboards are the key sound that grounds the album, not with Wakemanesque flight of fancy – well, not much – but with solid swathes of sound. The bass and drums are equally solid with Harrison’s guitars doing the rest. ‘Reaching Out’ is a prime example of the way the band works…there’s a bonus track, a cover of ‘October and April’ from Finnish band The Rasmus to emphasise Red Jasper’s credentials. If you like your rock music layered in pomp and circumstance, you’ll love this.

R2 Magazine (May 2016)

…with “Reaching Out” bringing a brighter tone to proceedings and Robin Harrison’s early Rothery inspired guitar styling taking hold, it’s a genuine, classy highlight of this album. As with the band’s precious release, lyrically the work of writer Clive Barker has inspired the exploration of human nature, religion and belief. Along with an intriguing album cover that evokes the most recent series of American Horror Story (Hotel), the imagery, both physical and mental is strong. When Red Jasper really hit their stride, they easily match that level of atmosphere.

Sea Of Tranquility (May 2016)

The band’s eagerly anticipated follow-up set mines a similar melodic vein as the five musicians explore the vagaries of the human condition via the refreshingly uncluttered delights of ‘Forth Of Fife’, ’7′ and ‘Paradise Folly’.

Kevin Bryan, Regional Newspapers (April 2016)

The glossy anxiety of “7″ introducing a new set of rules, now erstwhile long instrumental passages have left ample room for David Clifford’s vocals that launch the heavy raga of “Blessed With Gold” on a deliciously high note, although sometimes words seem to twist the tunes into slightly repetitive patterns. As a result, the melody which unites “The Gathering” with “Forth Of Fife” could have outstayed its welcome and drown the “Firth of Forth / Firth Of Fifth” reference if not for the songs’ additional turns and distinctly different arrangements. So where others would indulge in countless time signatures, RJ wrap the verses of “She Waits” in waltz and harden its choruses to rock riffs, while giving the despondency of “Nothing To Believe” an anthemic bounce.

Still, where Lloyd George’s cosmic synthesizers make “Reaching Out” a typical art-rock ballad, “Paradise Folly” gets down to an acoustic, spiritual foundation of it all, something that’s stressed on a bonus cover of THE RASMUS’ “October And April” as DC and his daughter Soheila (whose solo album is long overdue) deliver a dramatic duet. There might always be seven reasons not to see it clear, but with “777″ RJ clear this view in spectacular fashion. ****

]]>http://www.angelair.co.uk/?feed=rss2&p=44180THE REAL THING Live At The Liverpool Philharmonic 2013 CDhttp://www.angelair.co.uk/?p=4390
http://www.angelair.co.uk/?p=4390#commentsSun, 03 Apr 2016 22:29:38 +0000adminhttp://www.angelair.co.uk/?p=4390Sometimes mixing funk, disco, jazz, the audience enjoys this exhibition of rhythms and swing, combined with a saxophone always played with great precision. ‘Ain’t No Stopping Us Now’ is a real pressure cooker ready to explode…Among the bonus tracks is … Continue reading →

Sometimes mixing funk, disco, jazz, the audience enjoys this exhibition of rhythms and swing, combined with a saxophone always played with great precision. ‘Ain’t No Stopping Us Now’ is a real pressure cooker ready to explode…Among the bonus tracks is a cover of The Beatles’ ‘Eleanor Rigby’, ‘The Kid Ain’t Mine’ is a title based around percussion and bass, and ‘Tug Of War’ (Paul McCartney) is completely rearranged. THE REAL THING show they are kings of rhythm and blues.

Highlands Magazine (Translated – June 2016)

The band achieved huge success in the U.K. in the late ’70s with three hit singles; “Can’t Get By Without You”, “Can You Feel The Force” and “You To Me Are Everything”. All three tracks are found in this set and offer some nice soul/pop grooves with good lead vocal and harmonies and slick rhythmic grooves. The first track “Street Corner Boogie” is a silky smooth pop/soul confection backed by a funky bass line and melodic sax lines. “Raining Through My Sunshine” is another uplifting track with catchy guitar rhythms and sax while “Whenever You Want My Love” has a slight disco groove as does their hit “Can You Feel The Force”. The playing is good throughout, nothing earth shattering but the grooves are tight and the vocals are catchy. If you enjoy soul music of the ’70s this should bring some good vibes your way.

Sea Of Tranquility (May 2016)

It’s impossible to resist the rhythm changes of the 11-minute “The L8 Medley” as well as the mellifluous throb of “Cry Me A River” whose chorus marries past to the future, and the insistent jive makes “Can You Feel The Force” a rhetorical question. Strong as ever, the ensemble’s new studio tracks – beats-driven bonuses here – including the update of fellow Liverpudlians’ “Eleanor Rigby” is a testament to TRT’s vitality: that’s the focus of this package. ****

]]>http://www.angelair.co.uk/?feed=rss2&p=43900MATCHBOX Going Down Townhttp://www.angelair.co.uk/?p=4383
http://www.angelair.co.uk/?p=4383#commentsSun, 03 Apr 2016 22:22:27 +0000adminhttp://www.angelair.co.uk/?p=4383…now released for the first time worldwide on this budget priced CD. All of the 12 rock ‘n’ roll and rockabilly tracks are written or co-written by leader Hodgson and include numbers such as ‘Nothing To Do But Rock And … Continue reading →

…now released for the first time worldwide on this budget priced CD. All of the 12 rock ‘n’ roll and rockabilly tracks are written or co-written by leader Hodgson and include numbers such as ‘Nothing To Do But Rock And Roll All Day’, ‘She’s Hot’, ‘Roller Skating Sally’ and ‘Flip Flop Floosie’.

Bev Bevan (March 2016)

MATCHBOX ‘Going Down Town’ represents a fine tribute to a bygone era and succeeds only too well in re-creating the sounds of the greats. All 12 tracks on this re-release were written by Brian Hodgson – a versatile guitarist and also former Rutles founder-member. And a pretty fine job he did too!

Music-News (March 2016)

Vocal harmonies stacked around Graham Fenton’s mellifluous yelp and the sting of Gerry Hogan’s guitars, steel and otherwise, make “Flip Flop Floosie” irresistible and “Shooting Gallery” – penned by bassist Brian Hodgson, an original Rutle, and taken to the charts by Shakin’ Stevens in 1980 – a booming joy, while “Hot Love” snaps to the boogie shout-a-rama.

DMME.net (March 2016)

If you enjoy old school rock and roll and don’t mind the clock being turned back, oh about sixty years or so, Going Down Town will be a very enjoyable nostalgic ride that is just plain fun to listen to. Recommended for fans of Eddie Cochran, Buddy Holly and ’50s rock music in general.

‘Ghost Of Love’ starts with a vocoder and is accompanied by strings, a composition that lives as a drama, with remarkable vocal work. An incredible album, beautifully balanced offering us wonders, sensitivity and emotion…

Highlands Magazine (Translated – June 2016)

Emergency Love is a gently-rocking affair constructed around the delicate songs, deft guitar and keyboards backed by a line-up including Stackridge’s violinist Clare Lindley and drummer Eddie John along with pedal steel supremo EJ Cole. Songs such as ‘Charlie’s Dead’ and ‘Rain Rain Rain’ show the tuneful sensitivities that Davis bought to his previous outfits, but there’s a sense of coming of age on others including ‘Loving You Too Long’ which edges towards the likes of Randy Newman. There’s often a country touch and even gospel overtones with choral backing vocals, particularly on the title track…

Record Collector Magazine (April 2016)

At first glance Emergency Love may seem, from an artist known for chopping and changing styles and approach, a little too straight forward in its ethos. However, strong songs and excellent musicianship will always shine brightly and on Emergency Love that light breaks through confidently from start to finish.

Sea Of Tranquility (April 2016)

The title track itself is an excellent example of how to take a tender theme, present it in a reasonably traditional singer songwriter setting and simply allow the music to speak for itself. Whether the gentle stroll of “Downtown Lights”, the understated yet insistent “Magdelene”, which I could easily imagine Mark Knopfler singing, or “Charlie’s Dead” which contains an authentic country rock vibe, it’s hard not to get caught up in the believable manner with which Davis delivers the vocals. Add in some quite wonderful arrangements, where a deceptively simple sheen allows some seriously intricate work to feel smooth and unforced and it’s no surprise everything here works so well.

Sea Of Tranquility (March 2016)

The knock on heaven’s door, taking a hymnal turn in the title track, may stop at the sparse skank of “Nightfishing” with its steel guitars’ twang, while “Charlie’s Dead” paints patinated pictures on the way down memory lane towards “Downtown Lights” – a darkened cover of THE BLUE NILE’s ballad. Yet, as if to oppose “Peacock Of The Universe” referring to wisdom-preachers, who the artist hates rather than weirdos he likes, “Loving You Too Long” is a Shakespeare-citing soulful anthem which picks up where Otis’ classic left off. What’s left when the passion has burned, then? Look for the answer in the orchestral swell behind “The Ghost Of Love”: a dramatic, if soothing, finale to a warm, welcoming record – a beacon for those who feel lonesome tonight. ****

DMME.net (March 2016)

As the leader of such sturdy English bands as Stackridge and the Korgis, Andy Davis built a career that will see him through old age with substantial songwriting royalties. Both gigs were known for their idiosyncratic approach to pop, and his new solo album strives for eclecticism within a narrower tonal range. With his hoarse voice and mid-tempos, Davis seems to be cruising, and if the tongue-in-cheek ambitions that made the Korgis such a vital addition to the new wave canon are missed, there’s no shortage of great tunes and clever lines. Blues and trad are the preferred modes of presentation, but Davis’s pop instincts make sure the songs are concise and the arrangements serviceable. It’s what used to be referred to as a “journeyman’s record,” one whose merits are difficult to repeat, except that Davis has been repeating them his entire professional life.

]]>http://www.angelair.co.uk/?feed=rss2&p=43660THE HONEYCOMBS 304 Holloway Road Revisitedhttp://www.angelair.co.uk/?p=4364
http://www.angelair.co.uk/?p=4364#commentsSun, 28 Feb 2016 21:34:24 +0000adminhttp://www.angelair.co.uk/?p=4364Written, as was a bulk of this CD – including that hit, given a flamenco finish now – by Ken Howard and Alan Blaikley, it’s a vigorous upgrade of the collective’s classic pieces, although, as far as embracing modern technology … Continue reading →

Written, as was a bulk of this CD – including that hit, given a flamenco finish now – by Ken Howard and Alan Blaikley, it’s a vigorous upgrade of the collective’s classic pieces, although, as far as embracing modern technology goes, the new versions have a deliberately patinated audio veneer, sticking to the ’70 MOR patterns. The scintillating charm of Murray’s “Leslie Anne” – whose punchy groove and twang come kissed by glittery keyboard chords and wrapped in lush strings – is undeniable, yet such trimmings haven’t been applied to the Angelo Deacon-delivered “Without You It’s Night” which delicately bares the band’s depth. Also emotional, cosmic exploration might be well hidden in the boisterous, bass-propelled “Bring Your Heart With You” but it’s manifested in the arrangements of Meek-penned cuts – in the echoing strum of “Totem Pole 9″ and the lap steel modulations of “Please Don’t Pretend Again” – while the folk harmonies turn “It’s So Hard To Love You” on its head.

DMME.net (May 2016)

Highlights include the irresistible and acoustically driven “It’s Crazy But I Can’t Stop”, the feel good ’60s flavoured sheen on the upbeat “Leslie Anne” and “Mary Joe” and of course the reworked “Have I The Right?” with its slow building guitar arpeggios and beautiful melody. The sound is quite lush and the vocal harmonies are spot on as they are throughout the album as is the exceptional guitar work. The catchy keyboard melody and head sticking arrangement in “Love In Tokyo” is another highly listenable earworm as is the heartwarming ballad “Without You It’s Night” supplemented with lovely acoustic guitar and violin…You won’t find anything progressive here, just fourteen well written pop songs that drip with 60′s nostalgia rearranged for the modern era.

Sea Of Tranquility (April 2016)

…a triumph both artistically, aesthetically and musically. A truly wonderful CD packed full of superb performances and arrangements. It can be recommended without hesitation to all music fans and collectors. Also, a fitting tribute to Joe Meek / RGM. It is also a very joyous CD to listen to…

Joe Meek Newsletter (April 2016)

Martin Murray wanted to utilise the technology now available to re-imagine, rework and re-arrange The Honeycombs songs and keep to the spirit of Holloway Road…So do these reworkings work? Yes in the main they do and I get Martins desire to put a new take on things.

HITR becomes a slower tempo orchestral country tinged affair as opposed to the Dave Clark style stomper it was back in the day. Opening tracks ‘Leslie Anne’ and ‘Mary Jo’ both uptempo numbers sound fresh and ‘retro’ at the same time and there is no doubting the musical ability on display. Totem Pole 9 (theme from Howards Way) yes. you read that right! manages to come away sounding like a homage to the Tornados ‘Telstar’ Deliberate? don’t know but brought a smile to my face…overall as aforementioned Martin has made a refreshing, enjoyable and engaging album.

ninebattles (March 2016)

Founder member Martin Murray – guitar and supporting vocals – has been recalling the group’s brief time in the mid-Sixties spotlight with some newly arranged recordings made by a present-day line-up of Honeycombs. The 14 tracks obviously include a rendition of the stomping ‘Have I the Right?’ – and a return to ‘That’s The Way’, another song written by the hot team of Ken Howard and Alan Blaikley, and which reached number 12 in 1965.

The Beat (March 2016)

Now well into his seventies, Murray still sounds good vocally and there was never any doubt about his proficiency as a guitar player. Get this album as a birthday pressie for your granddad – but give it a go first and put your troubles aside for a brief while.

Music-News (March 2016)

The album’s piece de resistance is a brand-new arrangement of “Have I The Right?” which is like no other version you have ever heard! The majority over the years have all leant towards The Honeycombs original, and it would have been easy enough for yet another one to have been included on 304 Holloway Road Revisited. There is a slow build up to “Have I the right to touch you…”, a gentle acoustic-style guitar solo, and then “come right back” fading to an echo at the end. Brilliant!

“Colour Slide” is belted out and is not too dissimilar to the opening track on The Honeycombs LP. “Without You It’s Night” starts off with bird song over a guitar intro, and guest vocalist Angelo Deacon sensitively handling this as a ballad reminiscent of those by Justin Hayward. “It’s So Hard To Love You” turns into an unique barbershop-cum-country number. Linda, sounding somewhat like Glenda Collins, does sterling work on “Something I’ve Got To Tell You Baby”. “Totem Pole” is a fairly straightforward instrumental, the original being by Peter Jay and The Jaywalkers (1963); and, finally, “Too Way Out” winds everything up with its familiar boisterousness.

]]>http://www.angelair.co.uk/?feed=rss2&p=43640TYGERS OF PAN TANG Noises From The Cathousehttp://www.angelair.co.uk/?p=4356
http://www.angelair.co.uk/?p=4356#commentsThu, 28 Jan 2016 22:05:29 +0000adminhttp://www.angelair.co.uk/?p=4356Among the more complex compositions, worth mentioning are the experimental “Cybernation” and subtle “Deja Vu” whose rhythm sections are the highlight, not to mention the captivating “Master Of Illusion”. The real centrepiece of about nine minutes, this piece appears as … Continue reading →

Among the more complex compositions, worth mentioning are the experimental “Cybernation” and subtle “Deja Vu” whose rhythm sections are the highlight, not to mention the captivating “Master Of Illusion”. The real centrepiece of about nine minutes, this piece appears as a kaleidoscope of TOPT and concludes with a long solo at an almost doom tempo. For the rest, the mid-tempo “Godspeak” stands out with unusual vocal lines combined with choirs. “Running Man” is more traditional but still effective. Via the epic power ballad, “The Spirit Never Dies” the Hammond sounds enter the scene…To summarize, “Noises From The Cathouse” is an interesting album, pleasant, varied and flawlessly solid at all levels. In 2016, it rose from the ashes to finally get the recognition it deserves. Take the opportunity to discover this album and this band.

Odymetal (Translated – May 2016)

Starting with a playful blast of “Bad Bad Kitty” and signing off with the equally tuneful “Master Of illusion” whose tempo shifts and lyrical flow bare the metal-laden depth of it all, this record refines TOPT’s trademark double-barrel assault on “High Speed Highway Superman” while in the molten prayer of “Cybernation” Dean Robertson’s axe cuts the second six-string’s strum in a lyrical way.

The tightness-and-release method is what the band excel at, best illustrated by “Running Man” and its bluesy licks sprinkled over the groove as Richie Wicks is bemoaning the fate of a questing spirit, although a reckless rock ‘n’ rolling of “Three In A Bed” may vie with the epics for attention. There’s a lot of anger, peaking in “Godspeak” to the punches of Brian West’s bass, yet it’s well balanced with fun, and the re-recording of “Don’t Touch Me There” from the ensemble’s debut – one of the bonuses on this reissue – only stresses their development and relevance. The TYGERS still roar: a solid noise it is. ***1/2

DMME.net (April 2016)

…one thing is certain, this tiger always has sharp fangs with this album being no exception – guitar riffing, epic solos, tempos, and good raspy vocals. It opens with a bang with ‘Bad Bad Kitty’, glam rock yet boosted with a voice like Bon Scott, and Robb Wier’s exciting solos…

…’Three In A Bed’ is a track like old time Van Halen, and ‘Master Of Illusion’ has very thick guitars and a killer riff.

There are three bonus tracks from the album sessions, still full of the crazy guitar of Robb Wier. It’s uncompromising, as Robb assumes the role of guitar hero with his playing melting ice faster than global warming! Hard rock, this is the business of the Tygers! (***)

Highlands Magazine (Translated – April 2016)

…with “Three In A Bed” (whatever could that be about?) an out and out homage to Roth fronted Van Halen through its bouncy beat, party like chorus and Wicks’ deep, leering spoken word section, there’s much more to this version of TOPT than you may think.

“Bad Bad Kitty” keeps up the (ahem) tasteful lyrical themes, yet while the words may hint more at the eighties than the noughties, what Tygers have done here is to keep the essence of their sound while spreading their wings to add influences as wide and varied as Extreme, Faith No More and in the case of “…Kitty” a more sleazy slap.

…In many ways the NWOBHM tag has been a curse for countless bands and Tygers Of Pan Tang are no exception. Here they prove once again that they have many more strings to their fret boards than the sub genre suggests. Noises From The Cathouse is a rediscovered album genuinely worth the time taken to rediscover it.

Sea Of Tranquility (March 2016)

The disk opens with the powerful and gloomy “Boomerang”, introduced by a mild and persuasive theme with violin and piano. The next development is played on a very well constructed contrast between arpeggiated parts (dark and suggestive) and moments of more direct impact, with imposing riffing, fulminating and fully supported by the bass / drums rhythm section.

The voice of the former Angel Witch Ritchie Wicks is well set and drag properly, especially in the pounding refrain. It continues with “Godspeak” and is an almost dissonant riff, then supported by a lilting rhythmic base but compelling. The riffing of Weir is processed and delightful especially in the main refrain…The result is really interesting.

The next track “Masters of Illusion”, demonstrates once again their ability to create melodic textures with long, dark and powerful riffs…”Highspeed Highway Superman” definitely changes the atmosphere, concentrating one’s attention on more sustained rhythmic and dynamic heavy-riffing and catchy rock, embellished with a good solo.

In conclusion, this “Noises from the Cathouse” is a good album…Here you will find a range of atmospheres and sounds that will please both lovers of old school metal and those who grew up listening to the latest sounds.

Truemetal.it (February 2016)

“Noise from the Cathouse” is a solid hard rock disc with occasional metallic approaches. “Boomerang” is a great rhythmic track featuring quite heavy guitars, and “Three In A Bed” is a real ‘rock ‘n’ roll’ number…the album also features two classics “Slave To Freedom” and “Don’t Touch Me There” as bonus tracks, that enhance the re-release…

Musik An Sich (February 2016)

Considering its time of recording, the album is filled to the brim with surprisingly unadulterated heavy metal, its roots still firmly embedded in the NWOBHM subculture that sprung to life in the late seventies. Doesn’t make them bad people of course. There’s an honesty to this material – produced by Chris Tsangarides – that is infinitely preferable to the sneering, condescending undertone that runs through the so called post rock irony of a few contemporary AOR bands.

‘Highspeed Highway Superman’ and ‘Running Man’ see the machine ramped up to reach an hypnotic momentum. These tracks and others – ‘Three In A Bed’ for instance – just hum with kinetic energy. ‘Bad Bad Kitty’ and ‘Godspeak’ are opposite sides of the same coin. One seems to pursue the glam, stack heeled direction of travel, while the other’s funereal call and response vocals display the band’s ability to wed a muscular brand of heavy metal to their earlier, darker inclinations.

Darker still, ‘Cybernation’ and ‘The Spirit Never Dies’ are just the warm up for the epic, 3 act, 9 minute ‘Master Of Illusion’, a stately, majestic exploration of the genre, teasing us with an unconsummated dalliance with Progressive rock. There are echoes here of one of the bonus tracks, ‘Slave to Freedom’, originally from the 1980 debut, Wildcat, whose prescient time changes were something of a clue to the musical temptations that almost turned their heads, at the beginning of their recording career.

Of the other 2 bonus tracks, one is a new, streamlined mix of ‘Highspeed Highway Superman’, and the other a cleverly arranged rework of ‘Don’t Touch Me There’, a track that also originally appeared on the band’s debut album. All 3 bonus tracks were re-recorded in 2004, planned as album extras for the Japanese market.

There are some brief but informative liner notes here, delineating the band’s 35 year history, including an interview with founder Robb Weir, and a few fascinating (and evocative) photos.

The Midlands Rocks (January 2016)

Fast-forward thirteen years and ‘Noises’ has now been given a new lease of life via Angel Air. The revamped album features new artwork, a shuffled running order that redefines the dynamism of the original ten songs, and three bonus tracks which take the running time up to a hefty 75 minutes. The material certainly hasn’t lost its bite over the intervening years, and songs like the huge, sprawling ‘Master Of Illusion’ is just one example of the band’s ability to create a grandiose metal epic, while the haunting but power chord laden ‘Cybernation’ is as dystopian as its title suggests.

The bonus tracks were recorded in 2004 and feature album cut ‘Highspeed Highway Superman (Two Wheeled Version)’ alongside the debut album classic ‘Slave To Freedom’ and debut single classic ‘Don’t Touch Me There’…they do round off a rather exciting re-issue rather nicely.

John Tucker (January 2016)

The original release has now been fleshed out a little with the addition of three bonus tracks and should be required listening for devotees of melodic hard rock everywhere, with ‘Highspeed Highway Superman’ and ‘Godspeak’ emerging as the pick of a punchy package.

]]>http://www.angelair.co.uk/?feed=rss2&p=43560THE REFORM CLUB Never Yesterdayhttp://www.angelair.co.uk/?p=4322
http://www.angelair.co.uk/?p=4322#commentsWed, 30 Dec 2015 21:09:02 +0000adminhttp://www.angelair.co.uk/?p=4322Never Yesterday is folky: that’s right, THE REFORM CLUB, a mix of folk and rock with a perfume of the sixties, but it does not lack communicative energy. From the opening track ‘Daffodil Cottage’ we already know we are dealing … Continue reading →

Never Yesterday is folky: that’s right, THE REFORM CLUB, a mix of folk and rock with a perfume of the sixties, but it does not lack communicative energy. From the opening track ‘Daffodil Cottage’ we already know we are dealing with professionals who have a sense of rhythm. All these titles are sung by Norman and his voice is strong, I do not know if he was singing at the Commons but in THE REFORM CLUB he’s doing really well.

Highlands Magazine (Translated – June 2016)

…Elsewhere, though, affairs of the heart take over foreign affairs, and little tragedies such as ones behind the whimsical “The Man Next Door” or the “One Way Love” blues are the order of the day.

In this context, acoustically driven numbers of a singer-songwriter disposition – like “Point Me To The Truth” – make a lot of sense. Not for nothing the punk defiance of opener “Daffodil Cottage” with its naked guitar riff gets diluted in the song’s soft chorus and psyched-up passages, and “Shopping” is mocking consumerism in the kindest way possible – as a means for a meaningful social life.

So while the twang in “Time Hangs” sounds ominous, its refrain is a harbor of hope, and “Teapot Lane” hitches a catchy approach to criticism of today’s Blighty. But then, there’s luminous wisdom in the title track, a refusal to cast a glance back, just because it won’t help us move on. One way love might be a step forward, really.****

DMME.net (April 2016)

Never Yesterday’s meticulous political editorial makes it worth a spin, but where the album blossoms is through its inherent honesty. Love and life flutter among the words with such cordial belonging it is almost like opening a diary; and that intimacy gives this album its heart.
The Badger, University Of Sussex Students’ Newspaper (March 2016)

Whichever song you listen to you can be rest assured of some clever pop music that is as catchy as anything you are likely to hear this year. If you enjoy a little slice of the ’60s every now and then you really can’t go wrong with Never Yesterday.

Sea Of Tranquility (March 2016)

Standout track Give War a Chance is an irresistible critique of Blair’s warmongering, with the opening refrain “I am an envoy for peace/But I’ve got war on my mind/I’ve dealt with Iraq, I’m shafting Iran/Syria watch your behind” carrying a wholly correct prediction, chastising Cameron’s bombing whist uncovering the root of the madness with a heat seeking intensity any general would be proud of. Juxtaposed to a creeping folky instrumental, Baker and Mike Phipp’s lyrics are given a platform no parliamentary speech can rival.

The Reform Club also excel at old-school Rock and Roll ballads of longing and loss, with One Way Love and That Girl giving the album a genuine sense of authenticity; the former dealing with the age-old issue of loving one who will never reciprocate, the latter echoing the same notion in a flurry of minor chords and a chorus “That girl, That girl, I am in love but she’s leagues above me” that is simultaneously simplistic yet byzantine…

…Never Yesterday’s meticulous political editorial makes it worth a spin, but where the album blossoms is through its inherent honesty. Love and life flutter among the words with such cordial belonging it is almost like opening a diary; and that intimacy gives this album its heart.

Glenn Houlihan, Sussex University Magazine (February 2016)

‘The Man Next Door’ is a whimsical tale (told in ballad-style) about a fella called Ben who works off the Old Kent Road, claims to make a mint yet is always skint, and forever borrows a tenner of which our lyrical protagonist knows he’ll never get it back. Bless the Old Kent Road and its periphery, seemingly inhabited by colourful characters worth a tale, and forever inspiring artists to write that tale. Another amusing song is ‘Shopping’ an urban saga about the delights and possible pitfalls any serious shopaholic might encounter.

…An excellent album for music lovers who like to be ‘stimulated’ while listening to songs and hey, some of the content might even spark a debate or two – no, you won’t fool the children of the revolution.

Music-News (January 2016)

They are reminiscent of The Beatles, The Kinks, etc. Tony Blair has been criticized in “Give War a Chance,” with references to the war in Iraq and Iran. Something as mundane as shopping gets a slap in “Shopping”. For lovers of retro pop.

]]>http://www.angelair.co.uk/?feed=rss2&p=43220JOE EGAN Out Of Nowherehttp://www.angelair.co.uk/?p=4317
http://www.angelair.co.uk/?p=4317#commentsWed, 30 Dec 2015 21:02:24 +0000adminhttp://www.angelair.co.uk/?p=4317Out Of Nowhere was produced by David Courtney, who also produced Leo Sayer, Roger Daltrey and Adam Faith. He is quoted as saying “The album reflected where Joe was at this time of life and career following on from his … Continue reading →

Out Of Nowhere was produced by David Courtney, who also produced Leo Sayer, Roger Daltrey and Adam Faith. He is quoted as saying “The album reflected where Joe was at this time of life and career following on from his split with Gerry Rafferty which I felt was evident in some of his lyrics”. I can only agree after listening to such songs as ‘Ask No Favours’, ‘Why Let It Bother You’, ‘The Last Farewell’, ‘No Time For Sorrow’, and ‘Leaving It All Behind’.

Bev Bevan (March 2016)

With some of the less than stellar albums that have been given copious reassessments and reissues over the years, it really is amazing that an album this good has sat on the shelf for more than three and a half decades. Credit to Angel Air Records and Joe Egan for righting that wrong. With interesting liner notes from Egan’s brother Kevin, comments from the album producer David Courtney (who did a great job of capturing the relaxed vibe, yet making it sound vibrant) and a full set of lyrics, Out Of Nowhere really is an excellent re-release. Hopefully Map is next, however even more interestingly, the liner notes also hint at other previously unreleased Egan recordings seeing the light of day. Until then, get set to welcome Out Of Nowhere in from the cold. It’ll warm your heart if you do.

Sea Of Tranquility (March 2016)

Up until now Out of Nowhere was only available on vinyl. The years have been kind to this album. Thanks to producer David Courtney and Angel Air’s Peter Purnell, Egan’s long lost album can once again be heard by old fans as well as an entirely new audience.

Today these songs would fit somewhere in the folk/pop/Americana genres. What impresses us most about these tracks is the fact that they don’t sound the least bit dated. Joe wrote some great songs for this album that surely should have received more attention than they did when originally released. Hopefully this Angel Air release will bring this album to the attention of a much larger audience…The accompanying booklet offers notes from Egan’s younger brother Kevin as well as David Courtney. Top notch stuff, recommended. Top pick.

babysue (January 2016)

…the songs ooze an understated joy drenched in sensual orchestration yet leaning towards country-rock’s wind of adventure – full of soft harmonies, ‘Freeze’ wouldn’t sound out of place on an EAGLES record – so there’s a nice balance between delicate pining of ‘Natural High’ and the communal delight of ‘The Last Farewell’ where Gallagher and Lyle join in. But while a vaudeville whiff in ‘Ask For No Favours’ and the bluesy call-and-response in ‘Pride’ bridge this gap with a mischievous smile, ‘Why Let It Bother You’ wraps a worry into a sweet skank, and ‘No Time For Sorrow’ dries any occasional tear which fogs Egan’s eyes. Still, it’s ‘Leaving It All Behind’ that rocks with a righteous resolution and arresting abandon, as befits an artist who’s just cut loose and is having the time of his life.

An obscure gem of Scottish rock, the album has long been up for rediscovery; now it’s time to love it. ****3/4

DMME.net (January 2016)

It’s a fine piece of work, occupying much the same musical territory as Rafferty’s ‘Night Owl’ and blessed with a clutch of subtly memorable tracks led by ‘Back On The Road’, ‘Why Let It Bother You’ and ‘The Last Farewell’.

Kevin Bryan, Regional Newspapers (December 2015)

With some of the less than stellar albums that have been given copious reassessments and reissues over the years, it really is amazing that an album this good has sat on the shelf for more than three and a half decades. Credit to Angel Air Records and Joe Egan for righting that wrong.

With interesting liner notes from Egan’s brother Kevin, comments from the album producer David Courtney (who did a great job of capturing the relaxed vibe, yet making it sound vibrant) and a full set of lyrics, Out Of Nowhere really is an excellent re-release.

Hopefully Map is next, however even more interestingly, the liner notes also hint at other previously unreleased Egan recordings seeing the light of day. Until then, get set to welcome Out Of Nowhere in from the cold. It’ll warm your heart if you do.